British Origami Society Magazine Issue 273 Editor: Dennis Walker
Index
Contributions
Editorial Crossword Paper Review Review—Nejiri Ori Oriddle Review—Origami: 21 Sterne
3 6 7 12 13 14
Review—Under Construcon Paperweight Review—Max Hulme:
15
A Second Selecon Landmarks Ori-News Interview—Beth Johnson New Members Mini-meengs Council Craf4Craers
23 24 30 32 40 41 42 43
22
Diagrams Hiccius Doccius Expressive Faces Modularis 27 Pinecone
4 16 26 35
We are always looking for more diagrams, arcles, reviews, mini-meeng summaries, gossip, cartoons, puzzles. All submissions are appreciated, but we cannot guarantee to use them all. Please send arcles, reviews to :arcles@brishorigami.info Please send any news items to :news@brishorigami.info And all other items to the Editor at: editor@brishorigami.info Or by post to:7 Pitdinnie Road Cairneyhill Fife. KY12 8RE United Kingdom If you are sending diagrams, dia grams, we would greatly appreciate it if you would ll in the th e permissions form that can be found at hp://www.brishorigami.info/society/ magazine.php Deadline for submissions for Issue 274 is May 4th Electronic version is available for download to members roughly one week aer the print version is available.
If you have forgoen your membership username and password, please email membership@brishorigami.info remembering to include your name and membership number.
Cover Photo: Rose Kusudama Kusudama from the Cra4Craers show. See p. 43
Thank you to all the contributors and proof readers for this issue.
Editorial
Dennis Walker Spring is here! And I hope that you’ve all le the cold season well and truly behind. I certainly hope I have! Spring, as always brings the start of the convenon season and I hope that many of you will be aending the Founders’ theme convenon conveno n in Birmingham. It promises to be a fun and very interesng interes ng convenon. As always, always, diagrams are being sought for the model collecon, but don’t forget that your magazine also also needs
diagrams! I’ve been busy folding lots of octagonal twist decoraons, a pasme I nd curiously relaxing. One such doodle resulted in something that, to me, looks like an incense holder. But I wouldn’t recommend burning incense on it! Dennis
Submission guidelines Your magazine is always looking for news, meeting reports, articles, photos, reviews and diagrams. So here is a list of preferred formats. If the format you’d like to use isn’t mentioned, please ask as it’s likely that it can be accommodated. Article, News, Reports, Reviews
Plain text or Word format for preference, but PDFs are also acceptable. Photographs Almost ANY format, preferably colour and as high a resolution as you can send! Diagrams
Visio, Adobe Illustrator, Hand drawn, JPEG, GIF, TIF or PDF. Again, high resolution (>300 DPI) is preferable. Please use standard notation and portrait orientation.
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Soluon in the e-mag!
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Paper Review
Ilan Garibi & Gadi Vishne
Back in the days before contacng your overseas friends was a moment away by e-mail, we had air mail. You wrote on one side of a piece of very thin paper and then folded it over itself to show the envelope side of the paper. The idea was to minimise the weight for transporng by air. Those envelopes were usually made from Onion skin paper, a very light weight but strong and durable paper. paper. It is made using a high percentage of coon bres, as opposed to wood pulp. It is an almost translucent paper and is crisp to the touch like the outer skins of an onion, hence the name. A light ,strong, ,strong, thin paper is not only useful for for this airborne method of communicang but also for thick books such as the bible and the complete and unabridged version of the Oxford English Diconary. While researching the manufacturing of Onion Skin, the secret of the crumples in the Crumpled Paper (Ed. See Issue 271) was also unravelled. un ravelled. From Wikipedia:- “The nish of onion of onion skin paper is usually cockled, since it was air dried while it was being made. Cockled paper has a slightly wavy, wavy, handmade feel to it, along with a mildly dimpled nish. This property means that onion skin paper oen crackles while it is being handled, as the sheets sh eets do not lie at against each other. other. It also prevents p revents leaves of onion skin paper from scking to each other or other surfaces, a common problem with very light weight papers.” We got our stock of OSP 4 years ago in a dusty warehouse in Jerusalem at the bargain price of 100 US$ for a pack of 500 sheets. The manufacturer of this parcular brand of Onion Skin is the Barcino Paper Mill from Spain. You are unlikely to nd this thi s specic brand in your local paper pap er store, but there are a re many other producers who sll make this paper. So, light and thin sounds like a perfect starng point for an origami origami paper, paper, doesn’t it? Here are the results of our tests.
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The properes properes:: Thickness - The weight is 35 GSM. The thickness is 46 microns, the thinnest paper we have tested compared to the Test Test Kra Kra (48 to 53 microns), and Japanese Foil ( 52 microns.) Sizes – Usually Leer or A4 (Our sheets are the unusual size of 845mm x 644mm) Colours - Only white. Texture - Cockled paper is the perfect term. It’s like the Crumpled paper, but the bumps are more subtle and they have a direcon - with more length than width. The paper is semi-transparent and has a visible water mark .
As always with white paper, paper, playing with light and shadow with a back ba ck light gives interesng eects. This paper, being semi-transparent is even more impressive. Paper Colouring or colourability - applying water colour (by Ecoline) gives good results, but you have to be careful to spread it evenly. Aer drying there is no shrinkage at all and the paper became ser and easier to fold. Check the Powerpu blue units to see an example. Ageing and Wear and Tear - my rst ever Pegasus was made from this paper, as well as the Unicorn and the Smilodon, both by Kamiya. All three are sll standing, rm and stable, on all four legs. The colour hasn’t faded, the white is just as it was on day one, almost 4 years ago. The Th e tear machine gave slightly slightly beer results than for the Test Kra, staying true to its reputaon as a durable and strong paper. Tensile Strength - tested by the machine, the value for this paper is 1.5 Kg, against the grain, with 4 mm stretch. With the grain, the weight it can hold before tearing apart is 4 Kg, and it stretched by 10 mm! Although the tensile strength is similar to Kra, the stretch numbers are much higher, since it is made from coon bres, which are far more elasc than the wood pulp used for Kra. 8.5 out of 10. Bending Resistance - the amount of force you need to apply to get a sharp crease, and how strong a paper is while being curved (like during the pung of the Powerpu unit). Curving is not a strong feature. Trying to keep the Powerpu modules pued gave unsasfying results. A sharp crease can be achieved easily with your nger nails. 5 out of 10. Le: Powerpu showing colour and issues with bending resistanc resistance. e.
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Memory - good. Make a crease and it will stay. Flaening the paper aer a crease, there is a visible line, but you can not feel it with your nger, nger, there is no evident bump. bu mp. 8 out of 10. Forgiveness - fair. Like Crumpled Paper, when you try to reverse a fold it’s hard to feel the fold line on the other side. It’s almost like guessing it is there. It’s It ’s easier to reverse a fold line against a gainst the bre’s direcon, as expected. 5 out of 10.
Double wave
Photogenic -it is a white paper. paper. I like the unevenness une venness of the surface with animal models, since it’s more skin-like. Images with back light or in black and white emphasize its beauty.
Where to buy I do not know the address of this paper warehouse in Jerusalem, but since we bought the only package he had, h ad, it doesn’t really maer. maer. Being mainly for oce use, many retailers sell it in the A4 proporon. Amazon sells it here: hp://www.amazon.com/Onion-Cockle-Content-Sheets-Package/ dp/B0054QZIVG The PaperMillStore.com also stocks it: hp://www.thepapermillstore.com/paper/onionskin-paper .
Test results Tradional use - The Crane from a 15cm square. As always with thin papers, the result is very sharp. But it’s a crisp paper so when I pulled the wings apart, the centre did not curve cur ve gently, gently, but brok broke e into uneven surfaces. Acon mode l – Barking Dog, by Gadi Vishne; Tradional Flapping Bird; Tradional Jumping Frog; all from 15 cm.
The frog did not jump very high. The paper isn’t springy enough. However the bird will ap for hours with no sign of fague or weakness. Pushing the back of the dog`s head demonstrated demonstrate d the paper paper’’s high elascity elascity.. Tessellaon – Pineapple tessellaon, by Ilan Garibi , from a 34cm square - during the Grid phase, this paper pap er reminded me of the thin Kra test paper from the previous review. review. It’s hard to nd and reverse the crease lines that go with the grain. Unlike the Kra, the crease lines on the Onion Skin are hardly visible, which makes the next phase - the precreasing - not an easy task to complete. The collapse was fairly good, since the paper is crisp and has some bending resistance despite its thinness. The nal result looks elegant and clean. The back –lit image shows the grace of the white paper.
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Double Wave tessellaon, by Ilan Garibi, from 22 cm. Since the Pineapple tessellaon demonstrates the back light eect (right), I chose this tessellaon to replace the th e Mystery tessellaon. It was created for someone who wanted to present a beauful anque ring in a jewellery exhibion and she found it to be a perfect background. It is made by a very simple procedure of folding back and forth one line on two. This paper is perfect for this method. On a 22 cm paper I made a grid of 64, with no parcular problems. Folding was easy even with any layers that accumulated in the centre, due to its thinness. Complex – Peg Pegasus asus,, by by Satoshi Kamiya, from 30 cm square - my rst try of the Pegasus was 3 years ago with this paper. I re-folded it for this review. I must say it went very well. Forming the base was easy, open sinking stage 37 slowed me down but only a lile, and the zig zag in the wings could be folded with high density. I compared both old and new models, and the only dierence is a yellowish colour resulted from some MC I applied on the older model.
Owl, by Katsuta Kyohei Kyohei (Japan), from 30 cm Square - This thin paper really needed another complex model. Box pleang the th e body went extremely well, similarly for the wing ps. The talons require gentle, accurate reverse folding folding and shaping, sh aping, stretching my abilies but not the paper’s. The cockled texture gives a lovely nish to the model.
Modular/Unit Origami - PowerPu modular, by Ilan Garibi , made from 30 units, 12 cm squares - preparing the squares with an Envelopener caused some tears in the edges, since this paper is bumpy, or crumpled. Inside-reverse folds folds are dicult, d icult, and you need ne ed to fold fold it again on the other side to make it reverse reverse correctly The 5 units I coloured behaved much beer, beer, and reversing their folds was much easier. easier. Pung was not fun at all. It was dicult to get the shaping of the rounded parts and the inner aps tended to open up again and again. Connecon was a disaster. The paper is so and I couldn’t connect the units without the benets of, well, glue. But glue raised another problem if the paper gets wet, it curls quickly and becomes even soer. I had to usea ny point of glue to avoid that problem. The nal result is very airy and worth all the eort.
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3D models –
Rat, by Joisel; from 20cm square - the paper is great for mul layers. Being so thin, it is easy to fold many layers. layers. On the other hand, since it is a smooth paper, paper, the layer l ayerss tend to slip over each other, so it is wise to pre -crease each layer beforehand. The nal result is very sasfying but the paper is too weak to hold its weight. Omega Star, by John Montroll; from 20 cm - the classic Omega Star is a modular modular,, but not Montroll`s version. This model is made from one sheet, and requires a thin paper making Onion Skin a perfect candidate. I was not disappointed. Folding went well, and the nal result is nice, although the spikes are not as sharp and straight as I wanted them to be. Fox Terrier Terrier by Francisco Javier Caboblanco (20cm square) - all went well, unl the th e last step, going 3D. The model spread its legs wide, and nothing could hold them back. I sprayed some water on it, the paper absorbed it all and became highly exible; too much to be moulded nicely. On the other hand, it dried very quickly and the nal posture is very stable. This paper is not for wet folding, but to shape here and there it is great. Wet Folding - the paper is way too thin for wet folding the Polar Bear model.
Final verdict Four years ago, and with very lile knowledge on paper, paper, I dislike d isliked d Onion Skin. It was too crisp, hard to reverse fold, and easy to tear by an accidental move of a sharp nger nail. Today, older and wiser, with many paper types and brands in my paper collecon I can say it is one of the th e best thin papers I have. But you have to choose your project wisely wisely.. For complex models it is great - it’s thin, durable and will stay for many years in your display cabinet. I wouldn’t use it for modulars, and Paper Onion Skin for tessellaon tessellaon I will choose complex ones, or those th ose that have very small at surfaces between the Thickness (GSM) 35 molecules, to avoid avoid that crumpled look. I found it Size (cm) A4, Leer perfect for Goran Konjevod's organic collecon of models. Being so thin it is absolutely not for wet Colour palee White folding, but for shaping here and there - it’s great. For tradional, simple models it will work just ne, Texture cockled much beer than Printer paper, paper, with less of an aging problem, or losing its whiteness over the years. 3D Aging Many years models need the help of a ny amount of moisture Memory 8 here and there. Colouring the paper makes it even beer, giving some extra crispness for folds that go Forgiveness 5 along the grain. In ickr - almost nobody uses it or cares to state that they do. I found only 4 beauful back-lit stars made by gailprence, gailprence, and and my own models. Boom line - nostalgia has many benets!
Strength
8.5
Tensile strength
5
Final score
8
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Origami Workshop: Nejiri Ori
Project F ISBN 978-4-416-31200-1
Project F is the wonderful pseudonym of three Japanese origami arsts: Satoko Saito, Tomoko Fuse, and Taiko Niwa. They all agreed that Shuzo Fujimoto produced wonderful origami, but most exisng diagrams are dicult to follow and most people who looked at Fujimoto's ``Twist Origami'' booklets would agree. A few issues ago I reviewed their rst joint eort, Ajisai -Ori. I menoned then that the group were working on a second book of Fujimoto's work. This book is nally out, and it has denitely been worth waing for! The book has the same format as the previous book: a beauful, encing, colour gallery at the beginning of the book and clear diagrams for all the models. The gallery showcases the various models in the book. All of the models are exquisitely folded. The authors have put a great deal of thought in arranging the models and selecng the papers to fold the models from. An especially striking 3D sculpture is photographed outside against against a background background of rocks and greenery. greenery. For the three Fujimoto Fujimoto apples, one green, one red, and one yellow the photograph shows that the stem for all three is dark green. The instrucons in the book are very clear. The book is in Japanese, but any origami enthusiast should be able ab le to follow the instrucons. The books contains a large selecon of Fujimoto's works. Some are well known, some less so. The book begins with an interesng system of geometric models. The system consists of triangular paper tubes with hinges (made from rectangles with slits). The tubes are hollow, and by inserng parts of one tube into a second, they can be connected to make geometric structures, such as icosahedra, dodecahedra, and more. The tubes are fun to fold and connect; it's a really clever sys system. tem. Then begins a secon of models made from hexagons. The variety of models one can create using a simple twist on a hexagon is astounding. From a variety of six-pointed stars,, to delicate snowakes, to a daodil. These models, when folded from nicely stars paerned paper, paper, make great greeng cards and many photographs in the book showcase beauful greeng card ideas. The more advanced hexagonal models add three-dimensional elements and require some prey elaborate folding. The next secon is all about foldi folding ng stars, or star-like forms from squares and rectangles. From Fujimoto's classic ve-pointed star (from a sheet of A4 paper) and sixpointed star (from a square), to various medals and strings of owers or stars. These models rely on a great deal of pre-folding, and produce a gorgeous result.
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Then comes my favourite secon of the book, the secon on polyhedral forms. It begins with three of Fujimoto's signature twist-fold containers: a rectangular container, a hexagonal container, and my all-me favourite origami fold, Fujimoto's cube. The cube has an ingenious folding sequence, and, in my opinion, the best move of all of origami. This move is illustrated in the book with an accompanying ac companying photograph, photograph, to make sure that every folder experiences it. Then comes Fujimoto's famous apple. An elaborate modular fold is next. It is really a big molecule, made of tetrahedra and/or octahedra connected with origami struts. The book does a good job of showing the possibilies of this modular system. The nal model of this secon is a one -sheet sunken cuboctahedron. The nal secon sec on of the book is full of twisted models. Basically Ba sically,, these models consist of a repeang paern of creases that are brought together into a nice structure. There's a great looking decorave column, a lollipop, a chalice, and more. A really nice one is a paern that makes repeang hexagonal stars. It looks like a spring made of stars of David. It's really quite nice. There are a few models that provide some nger amusement here as well. The paper is folded into a form that can be exed into a dierent form. form. This provides ample fun for the ngers. I wanted to compare this book to the books published by b y Fujimoto himself. himself. This only made me appreciate more the work that the Project F team had done. Fujimoto's original booklets are hardly decipherable, especially without knowing Japanese. Only the slightest hints are given on the way to the completed model. On the other hand, Project F's new book provides clear, easy-to-understand diagrams. This makes folding the models a joy, not a brain -teaser. This book is a gem that collects some of Fujimoto's best work. The models are clearly diagrammed, beaufully photographed, and well selected. Any lover of Geometric origami, and any person who appreciates app reciates Fujimoto's work, should get this book. This is a true masterpiece. I can only hope for a third volume! Boaz Shuval
Matt Humberstone
The answer to last la st issue’s issue’s oriddle was a tradional pajarita. Well done to everyone who managed to work it out! Can you idenfy this model from these very short instrucons? Square base. Squash and petal fold aps. Mountain fold sides to centre to narrow aps. Reverse fold fold two adjacent adjac ent aps upwards then outwards. ou twards. Reverse fold fold the other two aps outwards out wards then downwards. Add more reverse folds and inate (oponal). Answers in the next issue.
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Origami: 21 Sterne
Carmen Sprung ISBN: 978-3-00-036571-3
I have long appreciated the origami work of German origami arst Carmen Sprung. She specializes in designing origami stars that are both fun and easy to fold and also highly decorave and beauful. Diagrams for these stars were hard to come by. A few were published in the odd origami magazine, or European convenon books. For a long me I have wished for Carmen to collect her stars in book form. Thankfully, Thankfully, this wish has come true. The book is printed on quality A4 size paper, and is about 100 pages long. The rst third of the book is devoted to a colour gallery, and the remainder for the diagrams of the various stars. The book has a very clever feature that I like: a pictorial table of contents. The inner ap of the front and back cover contain photos of the book's 21 models. Each photograph is accompanied by the star's name, the page it appears on in the book, and a diculty rang. This makes using the book very convenient. There is also a regular table of contents that lists each model with its locaon in the gallery and in the diagrams secon. This table of contents also instantly reveals that there are stars of two types in the book: modular (15) and single sheet (6) stars. The gallery contains beauful photographs of all the stars in the book. bo ok. For each star star,, Carmen has carefully selected the papers for folding to best complement the design. Several stars have mulple photographs from dierent papers or angles. There is also some text accompanying the gallery. It is, of course, in German, and seems to contain various ps on the models. Some of these ps are accompanied by photos, so even non German readers can understand them. The gallery also shows some variaons for several of the models, so in fact there are quite a few more stars in the book than the adversed 21. The nal pages of the gallery contain photographed steps of some of the trickier folds. The modular stars are made from rectangles of various proporons. Many are from squares, but some are from other rectangles. For this, Carmen has provided folding instrucons for making each of the required shapes. At the end of the book there is a handy table of the book's models and expected size. For each model, Carmen has measured the rao between the size of the piece of paper used and the resulng model. If you need to make the stars t some decoraon, such as a greeng card, this table is very helpful. You can easily use to gure out what size paper to begin with to make a star of a desired size. Carmen also provides example on how to use this useful table.
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The diagrams are very clear. At the top of each page is the model's name and diculty rang. The rst page of instrucons for each model lists the required proporon and suggested paper size. Whenever a non-square is called for, there is also a reference to the page where you can nd instrucons for making this proporon (even when the proporon is 1:2!). The diagrams are greyscale, but clearly show the dierent sides of the paper. paper. Whenever Carmen recommends mulple colours for the model, she uses dierent shades of grey to show it. This book was clearly wrien with the folder in mind, and no eort has been spared in making it as easy and inving to use as possible. It is a welcome addion to any person's origami library. Boaz Shuzal Origami Under Construcon
Giles Towning BOS Booklet 74
Not so many years ago I was at a BOS convenon, folding folding something in the th e dining room, sharing the table with a guy looking through some origami binoculars, it was Giles Towning. "Origami Under Construcon" is dierent. By BOS booklet standards it is a large booklet with 90 pages of diagrams for at least 30 models (and variaons). The anecdotes and random philosophies throughout the publicaon make for a great read, alongside the very entertaining folding. A few of the models start with a square but most are based on the "ISO A" format. The size given for for the paper at the start of of each model ensures that the models are are scaled relave to each other. The models start with a toolbox and then ll it with a saw, saw, a hammer ha mmer,, nails, spanners spann ers (open, socket and ring type), typ e), a screwdriver, screwdriver, a vernier, a retractable tape and an engineer's square. The models make extensive use of non -complex box pleang techniques. The diagrams are hand-drawn and easy to follow, but the nished models require a fair bit of moulding to aain reality. Following on from the tool models are an acon model golfer, golfer, green and ag. It took me a while to understand the relevance of a golfer among the theme:- aer a hard working week, nothing can beat a poer around the 18! The binoculars are here too, the addion of small models placed in the "lenses" adds further to the "authencity" of another wonderful model. I like this book a lot because it is dierent. It has a theme and in a warped way deviates from it. Once you've folded a vase and owers or a chess board and pieces to scale, a toolbox and tools seems the next n ext logical step. David Jacobs
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Expressive Faces
Tom Defoirdt
These diagrams are not step-by-step instrucons showing how to fold a certain face. Instead, they aim at providing instrucons to folding separate facial features: eyes, mouths and noses. In principle, each variaon of eyes can be combined with each type of mouth and nose, no se, which will allow you to create c reate a large range of dierent faces. I will also provide some hints on how to give the faces dierent dierent expressions. In fact, the folds that are used are not complex; the complexity comes from the fact that dierentt folds need to be performed together and that most of these manoeuvres will dieren make the model three dimensional. An addional challenge lies in nding the best proporons of the faces (i.e. the distance between dieren dierentt facial features). There is no no rule of thumb for this (no reference points), you should “feel" it or nd it via trial and error. The faces are best folded from foil-backed paper or by wet-folding. I mostly use a 2x1 rectangle, although it’s also possible to use a square (diagonal symmetry). These diagrams can also be used to add a face to human gures using only one ap for the head (see last secon for an example). Enjoy creang faces!
Eyes 1 This is the simplest version of eyes. It’s suggesng eyes rather than really folding eyes.
Eyes 2
Pleat as indicated (the upper pleat is wider than the lower one).
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The upper eye-lid is created by valley-folding the pleat made in step 1. The mountain folds are not sharp folds. The model will become 3D. The lower eye -lid is suggested by pinching the lower pleat.
Finished eyes type II. You can give the eyes dierent expressions by altering the pleat widths.
Eyes 3 These eyes are based on perpendicular horizontal and vercal pleats. Horizontal and vercal pleats can have the same width or can have dierent widths, depending on the expression one wants to create.
Pleat as indicated (both have the same width).
(Oponal) Push from the back to create a dome-like structure.
Pleat as indicated (both have the same width).
Valley-fold the Valley-fold the two upper edges corners together. Some hidden paper will come out. The model becomes 3D. Repeat with the lower corners.
Finished eye type III.
Nose 1
Fold as indicated. Start with the horizont h orizontal al mountain fold. Then fold in half and nally slide the lower edge back to the boom.
Like this. Open the model. The nose will not lie at.
Push inside to open and shape the nose.
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Finished nose type 1
Extra: you can give the face a moustache by folding the lower ps into a rabbit ear.
Nose 2
Pleat as indicated (both pleats same width)
Add 45° valley folds and collapse along exisng creases
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Unfold completely Pleat as indicated
Finished nose type 2.
Hint: opening the vercal pleats will create more volume which can then be used to make a hat or hair (on top of the face) or a beard (below). The eect will be even more pronounced if you use eyes of type 3 and then also open the vercal pleats used for the eyes.
Mouth 1
Pleat as indicated
Open the pleats to shape the mouth.
Finished Mouth type 1
Mouth 2
Pre-crease as Pre indicated
Collapse. Fold the edges upwards. The model will become 3-dimensional
Finished Mouth type 2
You can alter the expression of this mouth by changing the dimensions of the creases made in step 1 (length and height of the mouth), or lng them to one side to have one side up and the other down (leaving the vercal line perfectly vercal).
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Mouth 3
Variaon: Insert horizontal creases to make the mouth wider
Variaon: add mountain creases to suggest lips
Folding sequence If vercal pleats are needed (i.e. eyes type III and nose type II), then start by folding the vercal pleats. Then fold the nose. This will allow you to locate the posion of eyes and mouth. Finish the face by folding extra features (moustache, beard, hat), adjust the three dimensional shape of the face and round the edges.
Examples Here are some examples of faces I have folded so far. More pictures at www.ickr.com/ photos/verduiveld/sets/72157622682322379/
African mask; folded from a chocolate wrapper. For this face, I used eyes type 1, nose type 2 and mouth type 1.
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Ancientt mask Ancien mask.. For this face I used eyes type 2, nose type 1(note the moustache) and mouth type 2. I aimed at depicng a shoung commander (mouth wide open, large eyes).
Soldier. The vercal pleats used to create nose and eyes were opened at the top of the model to create the helmet.
For this face I used eyes type 3, nose type 2 and mouth type 2
Goddess. For this face I used eyes type 2, nose type 2 and mouth type 2. A tessellaon was added to suggest hair.
Approximate e crease paern. Paper Soldier. Approximat that is hidden in the nal model is shaded.
Satyr. For this face I used eyes type 3, nose type 2 and mouth type 2. The horns were created by inserng horizontal, diagonal and vercal pleats.
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Nick Robinson I have been lucky enough to aend many overseas convenons and each one is a treasure trove of happy memories and new experiences. More and more countries are oering convenons, somemes more than one, so there are many to choose from. If you do decide to take the plunge and travel abroad, here are some pointers to consider. Language
If you have some basic knowledge of the spoken language, you will feel far more involved in things and get a superb opportunity to put your skills into pracce. Even a ten week taster course will allow you to say hello and order a cabbage in a restaurant. Locals are always delighted to hear you mangle their mother tongue and whilst in Spain last year, I taught all my models in Spanish, despite having only made 7 of the 10 weeks at evening class! Somehow we got by and it was great fun. My advice is to nd a list of origami phrases in the chosen language – there are several on the web, and dive in head rst! In some European countries (such as Germany) you will nd high levels of spoken English, indeed somemes higher than your own! Don’t make assumpons though in Spain, fewer people seem to know English. In Japan you will usually need someone to act as a translator, not just to understand what is being said, but also to prevent potenally embarrassing breaches of equee. Most Americans have a passing knowledge of English, so you should be OK there. If you shop around, you can also buy a wallet-sized electronic translator, usually with several languages, which helps when you are really stuck. By and large, language is all part of the fun and where there’s a will to communicate, there’s always a way. Travel
Unless you’re prepared to brave Brish Rail and the Channel Tunnel, ying is the only opon. Try to book ahead as far as possible, since your costs will increase and choices decrease, the later you leave it. Spend as much me on the web as possible, shopping around – it can pay dividends. Consider separate ights – two singles can be cheaper than a return cket. Whilst some venues are conveniently located for airports (the Freising venue is a 15 minute bus ride), others require more eort. The Didaccs Conference in Freiburg requires (for me) a bus journey to the staon, an hour’s train journey to Manchester airport, several hours wait, a 2 hour ight to Basel, a 50 minute coach trip to Freiburg, then a 20 minute bus journey to the venue. Don’t expect to have much energy le when you arrive! It’s well worth booking an extra day in advance so you can arrive the day before the convenon and get a decent night’s sleep. british origami 22
Selected Works: A Second Selecon
Max Hulme BOS Booklet 73
This booklet showcases the work of one of the th e UK's most prolic origami arsts, Max Hulme. Max is a highly creave folder, folder, but diagrams for his works are scaered in various convenon books and magazines. It is nice to have a collecon of some of his best works in one place. As the tle suggests, this is, in fact, the second booklet featuring Max's work. The rst booklet contained models by Max from the sevenes. Max's work has ha s evolved a great deal since then, as is evidenced by this current booklet that collects some of Max's best be st works from recent years (although a few "golden oldies" are also included). The booklet contains a wide array of models: animals, human gures, inanimate objects, chess sets, and more. This booklet is really jam-packed. In fact, no page is wasted in this booklet: even the back cover contains instrucons! The paper shape for folding varies. Most models begin with squares, but a few begin with rectangles or even triangles. The diagrams are all computer drawn, and are clear, clear, if somewhat concise. The models are not complex, but are also not suitable for beginners. Folding experience is required in order to fully enjoy the booklet. Over the years, Max has designed origami models using various approaches and techniques. The models in the book really showcase this. I only wish the models had been dated, so one would be able to tell which "phase" Max was in when designing the models... Probably my favourite model of the book is Max's Angel; this is a truly delighul 3D gure of a winged angel. Other favourites from the book are the twist chess set on the back cover (provided as a set of crease paerns only, although one needs not be a crease paern expert to successfully fold these). I also quite like Max's poed plant model; it is a very clever mul-piece composion of a ower in a pot. I am glad that Max has compiled this booklet and made available, in one convenient locaon, this choice selecon of models. I highly recommend this booklet. Boaz Shuval
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Landmarks News updates from the BOS
Tung Ken Lam secretary@ britishorigami .info
Spring convenon 13 - 15 April 2012, Hotel Campanile, Birmingham There may sll be me for you to aend our spring 2011 convenon as it is scheduled for 13 - 15 April 2012. The convenon will be a celebraon of the th e founders of the Society and the guests will be some of o f the Society’ Society ’s original members including Mick Guy Guy,, Joan Homewood, David Lister, John Smith and Iris Walker. The convenon and the Model Collecon will highlight some of their pioneering work. A full report will be included in the next issue. Booking details can be found on the society’s website (www (www.brishorigami.inf .brishorigami.info/society/meengs/c o/society/meengs/cons.php) ons.php).. Autumn convenon 7 –9 September 2012, Liverpool Hope University Renowned origami mathemacian Tom Tom Hull is our special guest for this convenon which will have a special focus on Origami in Educaon in addion to the usual convenon acvies. The Model Collecon will include model diagrams and arcles on using origami in educaon. If you’re interested in contribung to the convenon please contact me (secretary@brishorigami.info) secretary@brishorigami.info) or or Sue Pope (treasurer@brishorigami.info) (treasurer@brishorigami.info)..
Nick Robinson is coordinang the autumn 2012 Model Collecon. If you have any new designs you would like to share then please email them to Nick Robinson (models@brishorigami.info) models@brishorigami.info).. 2013 Convenons: Birmingham …. We are delighted to conrm that the Spring 2013 convenon will be held at the Hotel Campanile, Birmingham, 5 – 7 April 2013. This venue has proved popular because of its good transport links and integrate integrated d facilies.
…..and Edinburgh We are excited to announce that the Autumn 2013 convenon will be at Pollock Halls, Edinburgh University, 30 August - 1 September 2013. Dennis Walker and Marn Quinn are organising the rst BOS convenon in Scotland which coincides with the end of the Edinburgh fesval. Be sure to put these dates in your diary and look forward to enjoyable mes at great locaons in 2013. Brish Origami digital edion This is the second year that you can download or view the full colour pdf version of the magazine at the members’ area of the society’s website (www.brishorigami.info/ (www.brishorigami.info/ members).. If you have any feedback on the format please let the editor know members) (editor@brishorigami.info) editor@brishorigami.info)..
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BOS Supplies At the 2011 AGM Vignesh Cumareshan took up the posion of Supplies Supp lies Ocer. Ocer. However a change in personal circumstances means that he is unable to commit to the role as he had originally intended. We are therefore looking for for a volunteer to support this important area of the Society’s operaons. Supplies not only benets members with some unique or hard-to-get products, but also helps fund the running of the Society. The storage and dispatch of products has been handled successfully by another organisaon for some me. The Supplies website hp://supplies.brishorigami.info has also been running successfully thanks to the work of Phil Swinbank and team. This means the Supplies Ocer’s role is more about sales and markeng e.g. monitoring sales and stocks, sourcing new products, nding new sales outlets, promong products like Giles Towning’s new booklet Origami Constructed, etc. If you would like more informaon informa on or feel you could help, h elp, please contact either myself or another member of the council. Origami Exhibions by the Nature Club of Pakistan The BOS has received a request from the Nature Club of Pakistan. They have recently expressed an interest in origami and are planning to undertake a series of origami exhibions in various locaons in Pakistan and are looking for origami pieces to feature in their exhibion. All submissions to this project should be sent to Muhammad Raza Khan, President, Nature Club of Pakistan, 115-H , Model Town, Lahore, Pakistan.
[email protected] Brish Origami Society Events If you are organising an origami event or teaching session, let us know. As a society we can support events by providing leaets, membership forms, bookmarks and some sample magazines to distribute. We can also supply starter packs for sale featuring the new edion of Paul Jackson’s ‘Ten Simple Paperfolds’. As a member of the society you may also be covered by the BOS insurance which gives members public liability insurance when working on the society’s behalf. behalf. There are restricons to this, so please p lease contact Nigel Elworthy (BOS Public Relaons ocer, ocer, publicity@brishorigami.info) prior publicity@brishorigami.info) prior to the th e event for more details.
International Conventions Origami Societeit Netherlands — 13 13-15 April: Mennorode, Elspeet (The Netherlands): Special Guest : Rikki Donnachie 11th Polish Origami Meeng — 28 28-30 April: Krakow (Poland): AEP Convenon— 28 Apr.—1 May: Bilbao (Spain): Fumiaki Kawahata, Robert
J. Lang, Quenn Qu enn Trollip, Trollip, Javier Caboblanco and Isidoro González. Origami Deutschland— 11—13 May: Schwäbish Gmünd (Germany): Special Guests: TBD M.F.P.P M.F.P .P Rencontre Rencontress de Mai—17—20 May: Angoulême (France): Special Guests: TBD
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Modularis 27
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Klaus-Dieter Ennen
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Ori-News Conference Origami
Collated by Dr. Simon Scarle E-mail: news@brishorigami.info
Crispbag – Handbag At candywrapperpurse.blogspot.com you’ll nd instrucons to make this hand bag made enrely from crisp packets, or for our American cousins, a purse made from potato chip bags.
A fold paern for a design by Jason Ku forms the main image of a poster of a recent technical conference TEI2012: Sixth Internaonal Conference on tangible embedded and embodied interacon. Jason poke at this conference which took place in February 19th -22nd 2012, where he gave an “Introducon to Origami: Folding, Design, and Analysis” Analysis”.. One of themes of this conference was “exploraon of folding and unfolding in design.”” Jason design. Ja son himself explains how he came to be invited to speak at the event: “A friend of mine at MIT showed me a postcard with this crease paern on it being handed out at last year's TEI conference, confer ence, without aribuon, with a challenge to fold it. A successful succ essful aempt would result in free registraon to TEI 2012. I contacted them, and they seemed quite embarrassed for not contacng me rst. I gave them the cleaned up vector drawing shown in the adversement. In exchange, they agreed to credit me (which they should have done in the rst place) and waive my registraon fee.”
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Printed Origami
These fascinang tradional origami designs have in fact been printed, using the modern technique of 3D prinng. The details of how they were produced can be found here: www.thingiverse.com/ thing:16209
Lang String & Skin Combos
Three of Robert Lang’s musicians appear on the cover of a recent CD for The String Conngent., who Lang describes as “an acousc trio from Scotland and Australia”, and they also asked nicely for permission to use his designs before going ahead with the cover. Also being nice and asking permission was Sean Grimes who so loved Robert’s Koi design design that he had the crease paern taooed on his arm ar m (by taoo arst Italo Ganni). How is that for dedicaon to origami!
Big Dragon in India
Himanshu Agrawal Agrawal describes on his Facebook page this giant creaon: “I was invited by the Indo-Japanese Associaon and the Japanese Consulate to parcipate in a cultural exhibion organised to commemorate commemora te 60 years of India I ndia-Japan relaons. I made this 25-feet long Origami Dragon for the event. There are 3200 scales on this. I am looking so haggard because of almost non-stop folding over 6 days (approx. 78 hours)! Phew!”
Floating Origami
New Record Distance Joe Ayoob threw a paper aeroplane design by John Collins, breaking the world record by 19 feet, 6 inches. The new world record, once veried, will be 226 feet, 10 inches. Video of the ight can be seen at youtube.com/watch?v=wedcZp07raE
These charming oang candles are made to look like tradional simple folds, and are available from www.candledesign.eu
More News in the electronic magazine….. british origami 31
Beth Johnson Anyone on Facebook or Flickr has probably seen the wonderful work work of Beth Johnson. If you haven’t (and even if you you have!) I recommend that you you visit www.ickr.com/photos/bethorigami where you’ll nd photos , CPs and diagrams (Ed. I’ve got to try those adorable hedgehogs) Hello Beth. Would you like to introduce yourself?
My name is Beth Johnson, and I live in Ann Arbor, Michigan with my husband and 6 year old son. I have a background in Anthropology and Environment Environmental al Policy and worked for 10 years on Great Lakes water resource issues. I le my job a few years ago to pursue more creave outlets. Folding was inially not my focus, but soon aer I began be gan focusing more on folding and designing origami. How long have you been folding and what got you started folding?
I believe I started folding around second grade and have been folding on and o ever since. My parents bought me an origami book for Christmas and a nd I took to it right r ight away. away. It’s always been an interest of mine that I keep coming back to. How long have you been creang and what got you started creang?
I began creang my own models about ab out two years ago. I started designing aer tackling my rst crease paern, an owl by Joseph Wu. It seems hard for me to believe be lieve now, now, but I hadn’t even seen a crease paern before that. I folded from books and was unaware of the amazing online resources for origami. Folding a model from a crease paern forced me to think beyond the step-by-step approach to folding a model. It completely changed my thinking about how models are created and opened my eyes to the reality that anyone can create them. It was a bit of a paradigm shi for me. Who are your favo favourite urite creators and why?
Let’s see, there are so many! many! I have a fondness for tessellaons tessellaons and corrugaons, corrugaons, so there are those folders that that are doing amazing work in this area, like like Eric Gjerde, Chris Palmer, Joel Cooper, Polly Verity, Ray Schamp, Ben Parker, Robin Scholz, Goran Konjevod, Ilan Garibi, Chrisane Beens and Chrisne Edison, among others. For representaonal models, I am a big fan of Joseph Wu’ Wu’ss work, and a few of his pieces are my favorite favorite models of all me, like like his lion and his Gorgon bull. He has a wonderful style and can make incredibly complex pieces look simple and elegant. I also love Quenn Trollip’ Trollip’ss models. Every new piece he creates is beauful and perfect. I am a huge fan of Giangh Dinh’ss work. I have tried to mimic his style and I nd it very dicult. They are like Dinh’ like sculptures out of paper. paper. Hoàng Tiến Quyết's pieces are also an inspiraon to me, and I love his style. Eric Joisel, of course. Jozsef Zsebe (his hippo and sheep are fantasc), Hideo Komatsu, Fabian Correa, Sipho Mabona, and so many more.
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What’s your favourite of your own creaons and why?
That’s a dicult queson. queson. My favourite favourite creaon is usually the last model I created, created, or at least temporarily temporarily it is. So right now it is probably my my latest acorn. It is such a great feeling to create a new design, especially when I work for a while on it and it’s not quite right and then, suddenly sudd enly,, it all comes together. together. Aside from that, it’s really hard to pick a favourite. If I had to pick just one, I think I would have to say my bear. I don’t have any models sing out out in my house, but if I did, it would probably be this one. It is also the model I usually choose to represent represent my work in an arcle or online. I’m just very happy with the nal result. It is not, however, however, my favourite to fold. fold. That would probably be my hedgehog because I love the folding procedure for the corrugaon used in this model.
Who or what inspires your creaons?
The inspiraon for a new design can come from a number of places. Oenmes I will will see a paern in a tessellaon or corrugaon that reminds me of something - bear fur, owl feathers, a sheep’s coat, or the top of a pinecone, for example. example. Other mes, I will justt be doo jus doodli dling ng wit with h paper paper and see a line line or sha shape pe that that inspires a new model. model. This is how I created my second second and third owls. Somemes I will see see an image or sculpture that I really like and I will try to recreate that in paper. paper. I also nd inspiraon in other’s other ’s work, parcularly Joseph Wu’s, Giang Dinh’s and Hoàng Tiến Quyết's pieces. I like the simplicity of Giang’s and Quyết's work and the structure of of Joseph’s Joseph’s pieces.
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Your models oen use tessellaon techniques as a means rather than as an end, is this a deliberate ploy?
Absolutely. I love the paerns in tessellaons and corrugaons, and enjoy folding them Absolutely. in and of themselves. I think they can make a model more interesng by adding texture and volume and interesng lines. There is a beauty and elegance in the geometry of many of these paerns that I’m drawn to and that translates very well in many models. They also (to my eye) have a very simple, elegant style. Again, is this something that you strive for?
Thank you for this nice comment. comment. I denitely strive for for that kind of aesthec and it’s nice to hear that this is your percepon. I tend to lean more towards the “less is more” style of design. However However,, I have a great appreciaon for the incredibly complex designs that so many people are creang today. today. While this is not my style, I also don’t feel I am nearly as strong a technical designer as are many contemporary designers. I am working on that, though! What do you fold to relax?
I love folding corrugaons and tessellaons. There is a beauty in the process, and I nd them very rewarding and sasfying to fold. I enjoy folding them as much as I enjoy the nal result. Somemes even more. What origami ambions do you have?
I get the greatest joy out of creang new designs and working on new pieces. I’m currently working on an exhibit where I am creang some pieces that react to people as they walk by. by. This is a new area of interest for for me, and I think it’ it ’s driven by how beauful these pieces are when they move or when they are illuminated, and you can see the contrast of light light and shadows. My thinking on this topic mostly mostly focuses on how I can bring in some money to jusfy jusfy spending so much me folding. I was doing a few art shows and selling my pieces, and I really don’t think this is the route I want to go. So I’m starng to look more towards teaching teachin g origami classes, which I very much enjoy. If I can support myself enough to connue to work on new designs and installaons, I’d I’d be thrilled. I am also interested in the praccal applicaons of origami and am currently collaborang collabora ng on a research proposal with some engineers. en gineers. I’m not sure which direcon d irecon that may go, but it’s an excing prospect. Origami has so many interesng interesng aspects to it the art and design, the potenal for applicaon in math and science, as an educaon tool - that connue to fascinate me. I’m excited about what possible direcons lie ahead. Thank you very much Beth!
Beth has also kindly sent the diagrams for her pine-cone. Ed.. Ed Adorable hedgeho hedgehogs! gs!
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New Members
Penny Groom
These are the latest new members, hope to see some of you at a convenon this year. year. Just a note for overseas members paying by credit card, I need the 3 digit security code from the back of the card now as well as the card number and expiry date. Please don't forget to send it to me when you renew, the electronic credit card machine won't work without it! Best wishes Penny Ordinary Anne Westbrook – Bexhill-on-Sea. Brian Smith – Heneld, West Sussex. Alan Penman – Falkirk.
Kathleen Pickering – Darlington. Christopher Taylor – Alfreton, Derbyshire. David Dawkins- Southsea.
Colin Darcy – London. Family
Charlie and Luke Skoowe join Tim as family members. Junior
Benjamin Fuller – Northumberland. Overseas
Alexandra Prabhaker- Sydney, NSW, Australia.
Origami Robots? Rikki Donachie found this intriguing arcle in the New Scienst about using origami to build ‘so’ robots. www.newscienst.com/arcle/dn21464
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Mini-Meetings 1: Scotland: Last Sunday of every other month. Contact Dennis Walker 01383-880193
2: Manchester: Third Saturday of every month 1
Contact David Tile david_le@bnternet.com
3: Shefeld: Date Varies 2
Contact Nick Robinson 0114 250 9388
3 4
4: Nottingham:
5
Contact Erica Thompson 0115 981 2750
[email protected]
8
6
7
5: Birmingham: last Sunday of every month Contact Dave Venables: 01564 -24255 or Peter Borcherds 0121 -475-3029
6: Slough: Contact David Raynor 07919-205671
7: London: Second Saturday every month Royal Fesval Hall Café, Southbank, 2 pm to 5 pm
Contact Paul Hanson 07967 347771 londonorigami@bnternet.com
8: Bath: Contact Kae Carpenter 07596 090619
The mini-meengs are the best be st way to meet other folders in your area regularly regularly.. Please support the local groups by going along to share your new enthusiasms. Please also send us a short summary of what you’ve been folding at the mini -meengs for the magazine. If there isn’t a mini-meeng near you, start one! Ask any of the council or email the mini -meeng organisers for hints and ps. And, of course, let us here at the magazine know about your meeng and you’ll be added to the map.
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BOS Council Council Meengs are held quarterly every year. If you wish to bring up an issue with the council, or stand for a council posion, please write to the magazine editor or contact one of the council members. Future Council Meeng dates for 2012: February 18th, May 19th, August 11th and November 24th. (Note: 11th Aug. is a change from from the data published in the 2012 calendar)
Council Members President: Penny Groom • email: e mail: president@brishorigami.info president@brishorigami.info Vice Presidents: David Lister • David Brill • John Smith • Iris Walker Chair
Mark Bolitho
chair@brishorigami.info
General Secretary
Tung Ken Lam
secretary@brishorigami.info
Treasurer
Sue Pope
treasurer@brishorigami.info
Librarian
Pauline Trew
library@brishorigami.info
Magazine Editor
Dennis Walker
editor@brishorigami.info
Membership Secretary
Penny Groom
membership@brishorigami.info
Supplies Secretary
Vignesh Cumareshan
supplies@brishorigami.info
Public Relaons Ocer
Nigel Elworthy
publicity@brishorigami.info
Publicaons Ocer
Paul Hanson
publicaons@brishorigami.info
Other council members: Michael Micha el Formstone, Paul Hanson, David Raynor, Raynor, Saya Sheikh and Sharon Turvey. General Enquiries
Membership Enquiries
General Secretary - Tung Ken Lam
Membership Secretary - Penny Groom
22, Marlton Way, Lancaster, LA1 5BW
2a The Chestnuts, Countesthorpe, Leicester LE8 5TL
tel. 01524 62217/ +44 1524 62217 62 217
tel. 0116 2773870 / +44 116 2773870
Legal Details All contents copyright the Brish Origami Society 2011 (Charity Number 293039). Contribuons Contribuons used by permission permissio n and remain 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 transmied in any form , electronic (including the Internet), mechanical or otherwise, without the prior permission of the copyright holders. ISSN 1745-3410
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Hello again! Welcome to another ‘Increased’ magazine. I’ve just returned from the Dutch Society Convenon in Mennorode where I had a wonderful me! I’ll write more about this in the next issue. Unfortunately this meant that I missed you all at Birmingham, so I’m looking forward forward to seeing the photos and hearing the stories from the convenon. convenon. Again, Again, there’ll be an arcle next issue.
Primula scoca Photo © Anne Burgess
On the subject of convenons, you’ll have seen in this issue that September 2013 will be in Edinburgh! Edinburgh! At last a convenon in Scotland. I hope to see many (if not all!!) of you in that beauful city.. However it also prompted me to look out any Scosh or city Edinburgh related or specic models and there aren’t that many, so please get your thinking caps on! There will be a compeon compeon when I sort out out the details. Meanwhile, there are Highland cale, thistles, Primula scoca and of course haggis to be folded! For those of a more literary bent, Edinburgh has Robert Louis Stevenson, Sir Arthur Conan Doyle, Sir Walter Sco and many others to fuel your interest.
However, before that we have Liverpool and However, a nd the delighul Tom Hull to look forward to. Any one fancy folding a Liver Bird? In this ‘Increased’ edion we have more news, arcles, the soluon to the crossword and some more diagrams, including the crease paern for for the models featured featured on the May page of your BOS Calendar! Have Fun!
Liver Bird Photo © Chowells
Dennis
Birmingham Model Collection The Model Collecon for the Birmingham convenon is now available in supplies. In keeping with the Founder’s Theme, Nick Robinson has plundered various older sources of diagrams including the BOS Model Library and come up with gems! A few few modern models and a discussion of history round o the collecon. As a taster, one of the models from the collecon, Wayne Brown’s Ring Box, is included later!
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Dib Dib Dib? No, No, Fold, Fold Fold Fold! Fold!
David Raynor
While many BOS members were enjoying the delights of Winchester in September at the convenon, I was running a stall at the 85th Gilwell Reunion at Gilwell Park on the Eastern edge of London. Gilwell Park Park is the headquarters of the Scout Scout Associaon and the ‘Gilwell Reunion’ is like an adult-only Scout Jamboree for Scout leaders from all over the country – even all over the world. There is a whole day day of acvies and workshops workshops where leaders can learn things to take home to their Scout groups to enhance their programmes. The BOS was invited to hold a stall stall and I agreed to run it, since I am a Scout leader myself and I wanted to try to boost interest in origami in general and the BOS in parcular. Unfortunately, at the last minute I didn’t have a car that weekend, so I was limited to what I could carry. carry. As well as my tent, sleeping bag and clothes, clothes, I was able to take some small BOS signs, my laptop, around 100 BOS leaets, and also 100 copies of a small booklet that I have produced. produced. It is full of simple models that I have had great success in teaching to Cubs and Scouts over the years that I have been a Scout Leader. The day went very well, considering that I was on my own (due to the simultaneous convenon). conveno n). I had been asked to give a presentaon presentaon lasng around 1 hour at the start. Sadly this was very poorly aended – only 8 people came along to watch it, but they were treated to a history of origami and how children use it around the world, together with hand-on folding experience experience with 4 simple models. I also showed them how they could use the story of the sailor’s shirt / tradional newspaper boat as entertainment around the campre. Aer that I was prey busy, judging my how many booklets I managed to give away. Many people said that I was hard to nd, as I was in a corner of a large tent with such small signage, but I probably couldn’t have managed many more visitors anyway anyway. I taught about 50 people in small groups throughout the day with models ranging from boats to chickens to elephants. I tried to adverse the the benets of being a member of the BOS as much as I could. I think I had some interest, but I don’t know if it has led to any membership enquiries. I have certainly not had any a ny follow-up, despite giving my my contact details details to several several people. I think that if I could have had an exhibion of complex models I could have aracted more people. I had a slide-show going on my laptop, of models that I had photographed at convenons and people found them very interesng. It’s a shame that this annual event is the same weekend as the BOS Autumn convenon as I suspect I could have had several other other BOS members along to help. Perhaps if the dates don’t clash one year I will try again. Many of the Scout leaders who go to to Gilwell Reunion go back year aer year. year. I think if we could appear a few years in in a row we would gain ‘brand ‘brand awareness’ and be remembered. Scout leaders are natural ‘cray ‘cray people’ and are always on the lookout for new cras for their youngsters to try so I see se e them as a natural target for the BOS.
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More Ori-News Folding Metal Robots
Collated by Dr. Simon Scarle E-mail: news@brishorigami.info
Mens et Manus: Folded Paper of MIT Erik and Marn Demaine, Green Waterfall , 2011.
RoboFold founder Gregory Epps, 32, has RoboFold been folding metal since he was a teenager.. "The teenager "Th e idea of industrialising folding metal started about 16 years ago," he says, "but it wasn't unl 2008 that I turned it into a business." His patented process uses six machines normally found in car manufacturing plants. They gently bend sheets of aluminium into shapes hard to achieve through convenonal methods, to create decorave facades for interiors.. The south London-based interiors company uses computer-aided design to develop a 3D mode
The Fuller Cra Museum in Brockton, Massachuses, is currently holding an exhibion of folds produced by the origami community of MIT. The exhibion is entled “Mens et Manus”, Mind & Hand being the moo of MIT MIT.. As described d escribed on the Museums web-site: www.fullercr www .fullercra.org a.org “Mens et Manus is an introducon to the work of MIT students, alumni, and faculty who have made the school a hub for a smulang community of arsts in folded paper.”
Origami with from an Unpleasant Place Origami bueries made by a serial killer are being sold on a macabre website.
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Charles Ng is currently on death row in California aer murdering 11 people in 1983. The notorious no torious website, Dark Vomit, is selling the set of two autographed origami bueries made by Ng in his cell. Each is signed and comes with an envelope on which Ng has wrien “To My Best Friend Ever.” Yuch!
132 5. by Issey Miyake
Jen Stark Although obviously containing many cuts Jen Stark’s bright and colourful art works should sll be of interest to those in the
origami community. Each is made from stacks of brightly coloured paper, which have been cut down through to reveal the inner colours. More can be seen at her website: jenstark.com
These geometric folding clothes from environmentally environment ally friendly fabrics are the creaon of fashion designer Issey Miyake. Thanks to a collaboraon with computer scienst and Professor Jun Mitani, an algorithm was produced that can create unique 3D geometric shapes that can be folded into 2D forms, which are then heat pressed to become folded shirts, skirts, trousers and one-piece dresses.
More can be seen at the ranges website: www.isseymiyake.com/en/ brands/132_5.html
New Record Distance Joe Ayoob threw a paper aeroplane design by John Collins, ocially breaking the world record by 19 feet, 6 inches. The new world record, once veried by Guinness, will be 226 feet, 10 inches. The previous record of 207 feet and 4 inches was set by Stephen Kreiger in 2003. Video of the ight can be seen at youtube.com/watch?v=wedcZp07raE
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british origami 48
british origami 49
Fabric Folding Joan Homewood found this shop on Etsy full of folded items and parcularly liked this wallet. I noced that the shop owner is based in Edinburgh. Maybe I should contact her! hp://www.etsy.com/lisng/82167528/peach -grey-6-pocket-cardholder-coon
DNA folding David Raynor sent in this link to the BBC website about a technique called “DNA Origami” and how it could be used to deliver drugs to a parcular area of the body. Looks like a job for Tom Hull’s PHiZZ unit to me! hp://www.bbc.co.uk/news/scienceenvironment-17058066 For more informao informaon n about DNA origami origami and it’s uses see hp://en.wikipedia.org/wiki/DNA_origami
And Finally….. Finally….. The soluon to the crossword . How well did you do?
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Craft4Crafters From February 2-4 we manned the BOS stand at Cra4Craers at Westpoint, Exeter. Judith, Sophia and Sean aended for all three days and Joan Homewood for two. We were teaching all day at the stand and sessions were run in the teaching rooms. Much enthusiasm was shown but I was amused at the comments we heard of ‘I can do that’ by those looking at the display. Especially when they were poinng at something that had not been published anywhere at all – not even on line! The only me we have any feedback of what we do is when those joining let us know. Sean and Carole (who unfortunately could not be with us this me) are two of those who joined the society aer coming to our stand a few years ago and both being ‘local’ were duly recruited. This me Sophia received the following email from one of our visitors. The mouse menoned was Eric Joisel’s Rat folded by Sean. “Thank you so much for making me so welcome at your Stand on Saturday and for sharing your wonderful world of Origami. I nished my lile circle when I got home later and ordered some papers on-line this morning! And my ny mouse that I totally love (please thank the gentleman for me again) is installed on a safe shelf; I asked the restaurant for an empty coee cup and carried him around the Show in that. If you sll feel able to show me some more designs I would love to meet up with you; I can't believe I had so lile idea of what this cra can do. The owers on your website are beauful. Thank you again Sophia, I so enjoyed my day and your kindness and skill was a huge part of this.”
Hiccius Docius— Ilan Garibi (p.4)
Expressive Faces—Tom Defoirdt (p.16)
Pinecone—Beth Johnson (p.35)
Modularis 27—Klaus-Dieter Ennen (p.26)
All Models folded by Kenny Dowson, Marn Quinn and Dennis Walk Walker er Photograph: Marn Quinn
