Issue #126 • WINTeR/sPRING 2018
The Magazine of OrigamiUSA
Senses Unfolded!
IN THIS ISSUE
FEATURES
On the cover On the cover: The Origami
8-9 OrigamiUSA Wants You! Investing in Young Folders, by Charlene Morrow
Holiday Tree was in a new location this year. It was framed
10 PCOC Wows Scholarship Winner, by Alex
turret of the American Museum of Natural History providing natural light that was not available at the previous location. The move was due to planned construction in the museum, which turned into a plus for us! (Photo by Andrew Cribb).
Matthews
11 New Software Speeds Origami Structure Designs, by Josh Brown 12 Obituary: The Lord of the Pins. Mark Kennedy (1950-2018) 18 7OSME, International Meeting on Origami in Science, Math, and Education, by Mark Bolitho
by windows in the fourth oor
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Tribute to 19-21 Obituary: Life is Beautiful. A Tribute “Yami” Yamauchi, by Michael Sanders et al
26-27 A+in Origami Book Design, by Ryan Dong Trove Hidden in the 28-29 A Paperfolding Trove New England Woodlands, by Laura Rozenberg
FROM THE HOME–OFFICE 18
3 Letter from the President 4-6 Holiday Tree: Tree: Senses Unfolded. Intro by Maxwell Jones
7 Annual Gift Contributors 13 2018 Michael Shall Volunteer Volunteer Recognition Award honoring Mark Kennedy 30 Book Review: A Tribute to David Lister, by
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Patsy Wang-Iverson
31 News from The Source 32 Calendar , Origami Connect, Special Folding Sessions
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DIAGRAMS 14-17 Bird, by Damian Malicki (Poland) 22-25 Manta Ray, by Julián Rodríguez (USA) 2 The PAPER | Wintr/spring 2018
(Photo by Monica Nown for Brna Mori, 2007)
Issue #126 • WINTeR/sPRING 2018
the Magazine of OrigamiUSA (Formerly Te Friends of Te Origami Center of America)
15 West 77th Street New York, NY 10024-5192 (212) 769-5635 fax (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 information about the art of paperfolding. 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 Wendy Zeichner, Advising Zeichner, Advising Editor Editor Marc Kirschenbaum, Diagram Editor Faye Goldman, International Goldman, International News Editor Gay Merrill Gross, Kathy Wallace, Patsy Wang-Iverson, Proofreaders The Paper Committee
Laura Rozenberg (Chair), Lanny Sherwin, Wendy Zeichner OrigamiUSA OrigamiUSA is a volunteer-based not-forprofit tax-exempt, tax-exempt, cultural and educational arts organization organization founded in 1980. Its mission is to share the joy and appreciation of paperfolding, preserve its history, history, nurture its growth, bring people together, and encourage community among paperfolders. FOUNDERS
Lillian Oppenheimer (1898–1992) Alice Gray (1915–1994) Michael Shall (1950–1995) BOARD OF DIRECTORS
Wendy Zeichner, Z eichner, President/CEO Charlene Morrow, Chair Patty Grodner, Vice Chair Jason Ku, reasurer Char Morrow, Secretary David Kandel Marc Kirschenbaum Edith Kort Michael Montebello Marcio Noguchi Kathleen Sheridan OrigamiUSA STAFF
Andrea Brecker, Administrator Brecker, Administrator Heidi Lenney, Manager Lenney, Manager for Te Origami Source Veronica Carman (Editopia Design), Designer for Te Paper
Letter from the President Dear Friends, I am writing to you with a heavy heart as my thoughts turn to the recent losses to the origami community of Yami Yamauchi and Mark Kennedy. Tis issue of Te Paper includes a tribute for each of them. Yami was a much-loved creator, known for his wonderful action models and joyful teaching. I have fond memories of folding with him in the great room at Convention, and seeing some of his hallmark techniques, such as making modular models (like Fireworks) by folding several sheets of paper at once using tongue depressors as folding tools. I love teaching the Fireworks model whenever I can. One of the joys of Yami’s models was that precision wasn’t always needed to get a great result that was fun to play with. Yami’s table at the Convention Exhibition always had a sign e ncouraging folks to pick up the models and play. Mark was an iconic part of the origami landscape, traveling the world to many origami conventions with his wife Arlene Gorchov. He was always teaching. My last memory of Mark was on December 3, 2017, when even though he had been quite sick, he had a short remission and came in to teach at Special Sessions. He was so happy to be able to share some of his favorite action models, and attendees were equally happy to learn from him. My earliest memory of Mark was having him “squeak” my sons when they were young and laughing along at his “Dad” jokes. And so many of us were recipients of Mark’s Mark’s pins and magnets, which he loved giving away. I wear one of Mark’s pins nearly every day. One thing that both Yami Yami and Mark had in common was that they loved children. Both of them were big “kids” themselves, so it’s fitting that donations made in their honor will help to continue the scholarship program that was piloted for the 2017 Pacific Coast OrigamiUSA Convention (see article in on page 8). Te Board of Directors has formed an ongoing Scholarship Committee and has appointed Patty Grodner as Chair. Te curcur rent focus of the Scholarship Committee is to invest in young folders. And speaking of PCOC 2017 in Los Angeles, thanks to Patty Grodner (Committee Chair) and Joel Stern (Local lead) and all the volunteers that made it such a wonderful event. It was so nice to see Special Guests Paul Jackson and Seth Friedman teaching their creations. Now we are well into planning for the Annual Convention, which will be held on June 22-25, 2018 at St. John’s University. University. One very big change is that for the first time ever, eve r, we will have online ticketing for the classes at Convention. Please watch the website for updates and instructions, and especially for critical registration dates. We have just launched a Convention Survey to find out about your Annual Convention experiences. We want to know what we can improve and what we can do to tempt more of you to attend. Te link for the Survey is on the home page of the website and here: https://www.surveymonkey.com/r/NYCConvSurvey02_18 We really appreciate your participation! Te survey will close on April 11, 2018. I hope to see many of you soon and share a moment of folding. Best,
Wendy Zeichner OrigamiUSA President/CEO President/CEO March, 2018 Wintr/spring 2018 | The PAPER 3
Holiday Tree Senses Unfolded! For the past 45 years, Origami USA has partnered with the Museum of Natural History in New York to create a special Holiday tree with nothing but origami models.
By Maxwell Jones Photos by Andrew Cribb While the Holiday ree was only on display for a few weeks, the work put into it far exceeds that. Volunteers fold the models that will go on display, and models from past years are also used. his year's theme for the Holiday ree was “Unfolding the Senses”, which comes in accordance with a short term exhibit in the Museum, focused on exploring the visitors' senses. he tree was in a different location this
year, in the Astor urret on the fourth floor. he area was a circular room, with windows on all sides except the entrance side, and the tree in the middle. Colored lights focused from the ground to the tree so it always appeared lit. here were all different kinds of models on the tree, ranging from dinosaurs, to masks, to pianos, to origami optical illusions (which fit with the theme.) Kids and parents alike loved the exhibit, with a packed crowd for the opening of the 13 foot tall tree. (In the captions, D: Designer; F: Folder)
TOuCH. Bl tllation: shzo Fjimoto (D), edward Mitrtta (F). (F) . Gray Tllation: Lmo sato (D, F). Cact in a Pot: David Ptty (D), Roalind Joyc (F). Cact owr: Traditional Tra ditional (D), Roalind Joyc (F).Look (Hand): Ogawa Tomo (D), Michal Vrry (F)
staind Gla Qilt: Dog Cain (D & F)
Childrn at th tr lighting day
eLeCTRO AND MAGNeTO ReCePTORs. Pigon and almon: Roman Diaz (D), Roalind Joyc (F). Platyp: stvn Cay (D), Roalind Joyc (F)
OPTICAL ILLusION with th magic cb
HuMAN AND Bee's VIeW. Black-eyd san (no-traditional dign); Dlroa Marhall (F). Cntr Flort: Dlroa Marhall (D&F). Lav (traditional and Dlroa Marhall dign) Dlroa Marhall (F). Mak: Toyoaki Kawaii (D), Roalind Joyc (F). B: Marc Kirchnbam (D) – modl from OrigamiusA collction
BRAIN ReCOGNITION. ReCOGNITION. Brain: Chri Itoh (D &F). Crytal: Robrt Nal (D), Roalind Joyc (F). Trianglar Prim: John Montroll (D), Roalind Joyc (F). Trianglar Dipyramid: John Montroll (D), Roalind Joyc (F). Magic Cb Optical Illion: Jrmy shafr (D), Talo Kawaaki (F)
TAsTe. Corncopia: Talo Kawaaki (D & F) Moth with Tong (Grora): Alxandr Olivro (D) Roalind Joyc (F) Jalapño: Joph W (D), Roalind Joyc (F). Cok bottl: Gilad Aharoni (D), Roalind Joyc (F). Rat: eric Joil (D), modl from OrigamiusA collction Pizza: Rll Cahdollar (D), Roalind Joyc (F). Watrmlon lic: shoko Aoyagi (D), Patty Grodnr (F). Watrmlo Watrmlon n half: Talo Kawaaki Kawaaki (D & F). Frnch fri: Charl eltin (D), Donna Walcavag Walcavag (F). strawbrri: Ra Cookr (D), Roalind Joyc (F). Lmon half: Marc Vigo (D), Dan Cohn (F) Wintr/spring 2018 | The PAPER 5
2017 HOLIDAY TREE echr Fih Tllation: Nick Robinon (D), Roalind Joyc (F)
Th tr wa in a dirnt location thi yar, in th Ator Trrt on th forth oor
sIGHT. eagl: Ngyn Hng Cong (D), Ryan Charpntir (F). Rabbit: Ronald Koh (D), Ryan Charpntir (F). Tr: John Montroll (D), Roalind Joyc (F). Gra: Dlroa Marhall (D & F)
sMeLL. No: Talo Kawaaki (D & F). Dinnr Plat: Hyo Ahn (D), Roalind Joyc Joyc (F). Fih on a Fork: Alxandr Poddbny (D), Roalind Joyc (F). Fih Bon: sbatin Limt (D), Roalind Joyc (F). Co Cp: shzo Fjimoto (D), Roalind Joyc(F). Cntipd: (nknown dignr), modl from OrigamiusA collction. sknk: John Montroll (D), modl from OrigamiusA collction
LATeRAL LINe sYsTeM, eLeCTROReCePTION. echidna: John Richardon (D), modl from OrigamiusA collction. Hammrhad shark: Frnando Gilgado (D), Roalind Joyc (F). shark: Jo Adia (D & F). Bl shark: John Montroll (D), modl from OrigamiusA collction. sting Ray: Pal Fraco (D &F). Gra: Roalind Joyc (D & F)
OPTICAL ILLusIONs. Pnro Triangl: Alandro Bbr (D), Roalind Joyc (F). “Va o Viag?”: eric Vigir (D), Lorn Dannnbam (F). ey: Ryhi uhara (D), Michal Vrry (F). No with Motach: Jrmy shar & Michal Vrry (D) Michal Vrry (F) sOuND. Grand Piano: Patricia Crawford (D), Roalind Joyc (F). Hand: Jrmy shafr (D), Dan Cohn (F). Ba Fiddl: Danil Portr (D), Roalind Joyc (F). ear: Talo Kawaaki (D & F). Flowr with Laf: (traditional dign), Roalind Joyc (F)
Volunteers for the 2017 Holiday Tree Designers: Rosalind Joyce Talo Kawasaki Tree/Model Setup: AMNH Exhibition Staff: Tory Ferarro Ferarro Steven Secka Jake Adams
Model Setup: Nikki Charpentier Ryan Charpentier Matthew Hermann Rosalind Joyce Talo Kawasaki Alfred Kwan Delrosa Marshall Joel M. Roselin Kathryn Wagner Loretta White
6 The PAPER | Wintr/spring 2018
New Models folded by: Joe Adia John Blackman Doug Caine Ryan Charpentier Dan Cohen Lorne Dannenbaum Sheree Green Patty Grodner Christopher Itoh
Rosalind Joyce Talo Kawasaki Mary T. Kelly Beata Kupczak Alfred Kwan Jeffrey Y. Li Delrosa Marshall Dori Melowicz Edward Mistretta Lumo Sato
Ibuki Torimae Michael Verry Donna Walcavage John B. Weiss Tovi Tovi Wen Wen Janet Yelle Photographer Andrew Cribb
Annual Gift Contributors Linda Adams Linda Alberts Susan Allardice Amy Anderson Arlene Anderson Jackie Antonoff Robin Archibald Ellen Aronson Rachel Avery Pip Azzara Jean Baden-Gillette Deanna Badgett Annette Barney Linda Bates Jonathan Baxter Beverly Beaver Frank Beck Andre Bedard Hildegard Behr Jacqueline Behson Maria Beitel Tona Tona Bell Alice Bellagh Theresa Benedetti Benedetti Marjorie Best Rabbitt Betzner Juliana Biro Francesca Blueher Nathan Boerner Linda Bogan Kevin Box Erin Boyle Christian Brandstetter Nancy Brandwein Christele Brien Marcela Brina Mark Burger Chris Burton Laura Byron Joshua Cacciapalle Chila Caldera Laurel Callahan Jordi Adell Capdevila Eva Cavazos Leslie Cefali Sylvia Cerel-Suhl Po-Shen Chang Tony Tony Cheng Claire Christian Sue Ann Chu Sophie Clark Sara Cole Matthew Colvin Jeannie Comcowich Sandra Congreve James Connolly Renee Cook Catherine Cooper Mary Craig Andrew Cribb Jason Daniels Dona Davidson Phyllis Davidson
Evan Deddo Linda Demaray Mark DeWolf-Ott Lois Dicker Tess Tess Dillenberger Dillenberger Giang Dinh Gale D'Luhy Andrea Doughtie Henri Dutilly Jonathan Edwards Beverly Estis Ira Fine Jennifer Fountain Karen Franzmeier Bruce Fryer Judith Fryer Kean Gill Mariana Giner James Goddard Matthew Goggin Ina Gail Goldberg Eric Gower Gail Grande Zarin Greenough Penny Groom Gay Merrill Gross Mick Guy Judy Hall Francoise Halvorsen Jun Hamamoto Janet Hamilton Darlyne Handley Tracy Harbaugh Harbaugh Arthur Harris Jerry Harris Marta Herrero Mark Hervin Megan Hicks Stephen Hill Frances Ho Carol Hodsdon Margaret Hofknecht Edward Holmes Eileen Holzman Kate & Yanori Honeyman Carol Horton Karen Houston Larry Howell Martine Huget Kiyoe Ise Judy Iwamoto Divya Iyer Nancy Jenks Eva Jensen Oliver Jiang Jean Johnson Kirk Joseph Ros Joyce Jennifer Kahn Rachel Katz Chiyo Kawai Luna Dara Kelondra
Chris Killeen Dori Melowicz Barbara Merritt Timothy Timothy Kingwell Marc Kirschenbaum Maureen Miller-Calamo Kazuyo Mizukami Yasuko Kizushi Betty-Ann Kleinschmidt Danielle Montague-Judd Linda Moore Terese Terese Klinger Jan Knez Susan Moore Sarah Muegge Lyn Komada Meenakshi Mukerji Kyoko Kondo George Mumford Artem Kozhuh Mary Mumford Yaroslav Kozhuh Rafael Munoz-Gonzalez Ruth Kronvold Linda Musich Liz Kuny Michael Naughton Sharon Kurashige Brita Nawroth Kayo Kurata Alice Nelsen Judith La Pietra Brenda Newman Emily Laber-Warren Maximilliam Nguyen Martha Landy Ashley Nishihara Thomas Lapsley Lapsley Gwen Noda Serena LaVine Tom Tom Novak Novak Gregory Laymon Susan Novick Connie Linn Leavell Katharine O'Hare Benjamin Lee Koustubh Oka Changhyeon Lee Nobuko Okabe Charlotte Lee Louise OppenheimerHeidi Lenney Flax Joan Levin J O'Shea Linda Levin David Pacheco Charlyn Lewis Jean-Paul Paquet Joan Lewis Paula Parris Jeffrey Li Candace Paska Minou Lidji Banks Peacock Brenda Lilly Alessandra Pecci Yuki Lin Liz Peterson Diana Lisi Lin Peyton Lisa Longo Dennis Piatkowski Byriah Loper Theodore Theodore Pomeroy Pomeroy Gayle LoPiccolo Howard Portugal Inmaculada Lora Judith Powell Cindy Luke George Procinski Dee Lynch Judy Pruitt Linda MacFarlane Deborah Pun Wendy Mach Annette Purnell Lynda Mains Elizabeth Quinones Bettina Marlow Barbara Radcliffe Sylvia Mars Poindron Peggy Rate Delrosa Marshall Rhonda Rea Kris Maryou Karen Reeds Pierson Mast Mary Lou Reichard Robin Matsumoto Bob Reid Cynthia Maurer Marti Reis Peter Mayer Sandra Resnick Rochelle Mazze Cindy Reynaud Christine McCullough Mary Lou Richard Marla McElvany Carolyn Richardson Marae McGhee Kate Richardson Sean McHale Sandra Richman Jon McKellar Juliann Richter Fred McLaughlin Katherine Riley Dorian McMath Jean Rishel Griffin Meier Anne Roberts Anika Meisel John Rogers Jack Mello
Eitan Romero Amy Rompala Jane Rosemarin Barbara Rothman Evelyn Rubenstein Marlen Rust Catherine Saines Bunny Sanchez Diane Sandberg Margaret Saracco Reza Sarvi Lumo Sato Diane Schaeberle MaryAnn SchebleinDawson Diane Schievella Nancy Schneider Merle Scribner Kriti Shah Charlotte Shandley Iris Shen Kathleen Sheridan Miho Shida Chung Shum Kathleen Silva Patricia Sisler Bernice Smith Pete Smith Barbara Snow Joan Son Yuri Sotar Olga Soukharevsky Melody Sowa Sophia St. Jean Lotus Stack Robert Stark Graham Stearns Frances Stein Heidi Steltzner Joel Stern Kathy Stevick Stephen Stroud Ken Sugawara Barbara Syrett Wayne Tahara Tricia Tricia Tait Tait Wayne Tanaka William Temple Heather Thompson Sandy Toivonen Joyce Tomas Agnes Tomorrow Laurie Travers Arnold Tubis David Tuttle Cylvia Ultz Sophie Usherwood Namiko Uyemoto Maria Valerio
Valerie Vann Maria Velazquez Matthew Ventura Bob Voelker Donna Walcavage Anita Wales Kathy Wallace Helena Wang Patsy Wang-Iverson Kuniaki Watabe Paul Weinberg John Weiss Suzanne Wertz Harry Westphal Susan Wettling Loretta & Vince White Peter Whitehouse Liz Whittaker Andrew Wilcox Heather Willensky Shellene Wilson Martha Winslow-Cole Lei-Hung Betty Wong Russell Wood Sonia Wu Jinni Xu June Yamasaki Elaine Yatsko Linda Yau M Yee Janet Yelle Ah Moi Yip Elizabeth Yip Yee Nor Yuen Wendy Zeichner Leoila Zeigler Zelimir Zlatic Origami Groups: Amigami Group Birmingham UK Group British Origami Society Holton-Arms School Students & Teachers Moorhead Origami Club New College Origami Group North Durham Origami Club Ohio Paper Folders Origami Houston Origami Odyssey Poltava Extra School Salem Origami Club San Quentin Group Triangle Triangle Origami Origami Folders United (TOFU) UFT- Retired Teachers Origami Class
Wintr/spring 2018 | The PAPER 7
ORIGAMIUSA YOUNG FOLDERS SCHOLARSHIP
OrigamiUSA Wants You!
Investing Invest ing in Youth OrigamiUSA launched a new youth scholarship initiative in 2017, oering scholarships to two young folders folders to attend PCOC.
t,, and Alex Harr y Allen, le f t wss holding models he w th Ma t t olded, fo he y designed and f th t a t PCOC 2017.
by Charlene Morrow Chair, OrigamiUSA Board of Directors Photos by Hank Morris he idea was the brainchild of Patty Grodner, Vice Chair of the Board of Directors of OrigamiUSA, who you may also know as the new chair for the PCOC. One background factor stimulating the idea of more actively supporting our youth is the data from the 2015 survey that shows clearly how our membership is very dispropor disproportiona tionately tely over 55. A second factor was the enthusiasm brought to the board in summer 2017 by our newly elected board member, Sunil Dhavalikar, for youth programs. He was really eager to put a lot of energy into getting origami out there in youth settings, whether schools, after school clubs, or completely outside of school activities. Sunil’s sudden passing in Fall 2017 shocked and saddened us all, and we are committed to keeping alive his enthusiasm for bringing origami to young people. Supporting a scholarship initiative is just the one way to accomplish this goal. Patty was quickly joined by Jan Polish and Shrikant Iyer to form a scholarship s cholarship committee. ogether ogether they worked with the network of Community Origami Groups (COGs) to reach out to their young members to apply for a scholarship. Within a short time, 14 impressive applications from across the US were submitted, each 8 The PAPER | Wintr/spring 2018
requiring a detailed description of the youth’s work and a letter of support from the COG leader and information from a parent/guardian. he selection process was arduous because all of the applications were from amazing young folders. It was decided that the emphasis would be placed on youth who had never attended a national convention before, other things being equal. he “other things” were factors such as community involvement, sharing/teaching origami, and/or creativity shown through folded and original models. Finally the recipients were chosen, and they and their families couldn’t couldn’t have been more excited. I volunteered to be a mentor for the two recipients,
Harry Alln commnt on how rciving th cholarhip ha actd him: “When I was notified that I had won the scholarship…I was thrilled! Before I got the scholarship, I didn’t even know that PCOC existed. Since PCOC I fold more often and uploaded four models (three of my own design) on my YouTube YouTube channel (Allegami). Later I did a show-and-tell of what happened at PCOC. The class was impressed.” (Harry Allen, 11 years old, WA, USA)
Harry Alln, lft, and Alx Matthw bing introdcd at th PCOC 2017 Banqt by shrikant Iyr.
Robrt Lang, lft, Alx Matthw, middl, and Harry Alln at PCOC 2017.
Char Morrow, Alx Matthw, Harry Alln, Wndy Zichnr, Jant Yll folding togthr at th Thrday vning rcption, PCOC 2017.
Alex Matthews from ennessee, and Harry Allen, from Washington, and their moms, ammy Matthews and Laura Allen, who would be accompanying them. I have been so lucky to get to know both of these amazing families! We communicated regularly for over a month before PCOC to make sure that it would be smooth sailing once they arrived. When they walked into the hotel in Redondo Beach, CA, we hugged as if we had known each other for years! For those of you who have attended a con vention vention and and can remember remember back back to your first time, you know how overwhelming
it can be to check into your room and try to wrap your mind around signing up for classes, finding classrooms, and navigating the store. Even though I travel frequently f requently,, I tend to be confused about these processes myself, so I was especially excited to try to make this easy for our scholarship families. It was a great opportunity for me to see the convention experience in detail through the eyes of a first timer and to understand how we can keep improving the experience for everyone. I believe that everyone who met Alex and Harry (and ammy and Laura, too!)
Alx Matthw commnt commnt on hi xprinc at th PCOC Banqt: “We barely knew each other’s names when the Superhuman Crease Pattern Challenge was underway! The object was to determine which two of the forty models your table had. Our simple CP looked like a Miura-Ori with some creases reversed; it was revealed to be a snake. Our harder CP, however, was a different story. After folding the CP for the second or third time, we saw two ears. The only model with that type of ears was a wolf model. It was amazing how many other people knew which models they had! As several individuals individu als received well-deserved recognition, the anticipation of the most important announcement steadily trebled: Portland, Oregon, will host its first PCOC in 2019!” (Alex Matthews, 15 years old, TN, USA)
— and that was almost everyone at PCOC — was super impressed, and understands even better why the future of our origami community depends on our investment in our youth. Neither Alex nor nor Harry had ever been to a national convention. convention. hey had a chance to meet potential mentors — people who have inspired so many of us — like Robert Lang, Beth Johnson, or Seth Friedman. And the leaders in our community had a chance to meet these young folders who might be some of our future leaders. Now we need to continue to build a model for supporting these young folders all across our community and make sure they stay “in the fold.” fold.” Both Alex and Harry are pretty well connected in the virtual community. For instance, Harry has a YouYouube channel and Alex has self published a book and runs a popular local convention every year. heir attendance at PCOC, though, demonstrates the power of inperson interchanges. interchanges. here is no substitute for chance encounters in the hallway or hospitality room between first timers and seasoned veterans. he look of delight on everyones’ faces speaks volumes! Note that OrigamiUSA will be continuing our youth scholarship program in some form in 2018, and hopefully expanding it as funds permit. Stay tuned…and tuned…and consider donating to OrigamiUSA to help support programs such as this one. Wintr/spring 2018 | The PAPER 9
LeFT. Alx Matthw, lft, and Pal Jackon waring baball hat mad in th cla that Pal taght (Photo: Hank Morri) MIDDLe. Dollar Bill Rootr foldd by Alx Matthw (Photo: Alx Matthw)
PCOC Wows Scholarship Winner
RIGHT. sth Fridman, lft, and Alx Matthw folding togthr in th Hopitality Room (Photo: Tammy Matthw)
By Alex Matthews (TN) Every year I joke with my parents about going on vacation to “place X” (which always happened to be an origami convention) for a birthday or their anniversary. I knew that, probably, I would never get to attend a convention for many years because I am the only avid folder in my family. I was completely unaware that I would be the scholarship winner and attend the Pacific Coast Origami Conference (PCOC) 2017 in Los Angeles, CA. My local community origami group (COG), Plateau Origami People, a group of folders in Crossville, N, concocted a top-secret plan - a plan to send me to my first origami convention. convention. When it was disclosed that I had been chosen by the scholarship committee, headed by Shrikant Iyer, Iyer, as the first PCOC scholarship winner, I had absolutely no idea that I had even been nominated. hat’s when the whole plot unraveled. My COG had learned of the s cholarship, cholarship, got my parents’ permission, sent in the nomination, and sat back to wait for news - without me knowing a single thing! I’ve got to give those ladies credit, my powers of deduction were finally at a loss. 10 The PAPER | Wintr/spring 2018
Stepping through the door into the hotel, we were met by Char Morrow with wide open arms ready to help us transition into the bustling atmosphere of an origami conference. Char was quick to introduce us to everyone who happened by at dinner. By the time we left, three hours later, a dozen or more folders had made my first evening at PCOC a pleasurable experience. It was the perfect beginning to the best weekend ever. Saturday dawned bright and clear, a perfect day for folding. I was privileged to be asked to help in the ticketing process! I love volunteering, so this was fun. We ticketed over 250 people in less than 30 minutes! I was able to attend Seth Friedman’ man’s Cat class. class . he best part of it was a short lecture on his design process. During lunch, I had a delightful, at times comical, chat with special guest Paul Jackson. During the rest of the afternoon, I took Beth Johnson’s Squirrel class and Paul Jackson’s Baseball Cap class. Saturday night, I stayed up late to fold. It was very rewarding. My completed rooster is picturesque. Staying up late to fold - that is the life. Sunday dawned perfect and heavenly. After cheerfully eating breakfast, I volunteered
in ticketing again. I attended the Dollar Bill Flower-In-A-Pot class first. he class was harder than I expected, but with a bit of help from Sok Song, it looked like the example model. After lunch, I raced to the Silent Auction to make sure I would get my book. I did, but not without a lot of stress on my part. It was so fun! Everyone jumping around each other, people “borrowing” pens, and that sigh of joy mixed with relief when you get that one special item that you wanted. I finished the convention with extraordinary classes by Robert Lang, Belle Fernandez, and Beth Johnson. he amazing thing about PCOC was that everyone seemed to know each other, other, like a great big family. No matter what table I sat down at, I was as welcome as I was anywhere else. Everyone was extremely helpful, friendly, friendly, and ready to lend a helping hand. PCOC is unquestionably something I would do year after year. Getting ready for the plane ride home, I had a feeling of déjà vu. vu. Everyone who walked by seemed to b e someone I knew, talked to, or folded with. It was a bittersweet parting, leaving so many new friends, but the anticipation to see them again is something I will hold with me until we meet again at another convention.
GEORGIA GEORG IA INSTITUTE INSTITUT E OF TECHNOLOGY NEWS
New Software Speeds Origami Structure Designs* Georgia Tech researchers nd ways to use Origami as the structural basis for real world applications such as deployable antennas and bridges. by Josh Brown Researchers at Georgia Institute of echnology have developed a new computer-aided approach that streamlines the design process for origamibased structures, making it easier for engineers and scientists to conceptualize new ideas graphically while simultaneously generating the underlying mathematical data needed to build the structure in the real world. Origami paper folding techniques in recent years have been at center of research efforts focused on finding practical engineering applications for the ancient art, with ideas ranging from deployable antennas to robotic arms. “Our work provides a means to predict computationally the real origami behavior of a design – something that up to now has not been easily done,” said Glaucio Paulino, a professor in the Georgia ech School of Civil and Environmental Engineering. “With the new software, we can easily visualize and, most importantly, engineer the behavior of deployable, self-assembling, and adaptable origami systems.” systems.” he research, which was supported by the National Science Foundation and reported October 11th in the journal Proceedings of the Royal Society A, involved building a computer model to simulate the interaction between the two facets of a folded sheet, including how easily and how far the folds would bend and how much the flat planes would deform during movement. Once all sections were connected together and digitally represented a piece of origami, the model could simulate how the structure would
Rarchr Glacio Palino (lft) and K Rarchr Li with origami trctr that can b imlatd in nw oftwar. (Crdit: Rob Flt, Gorgia Tch) behave based on what type of material – from soft paper to hard plastic or metal – would be used to create the object. “his type of modeling was possible already using finite element analysis, but that is a timeconsuming process that could take hours or days and provides a lot of unnecessary data,” said Ke Liu, a Georgia ech graduate student who worked on the project. “Our new process is much faster and gives us the underlying data for how the origami or igami works.” he software, which is called MERLIN, al lows the researchers to simulate how origami structures will respond to compression forces from different angles – one at a time or several simultaneously. he researchers can then quickly adjust the parameters for the type of material used or from what angle it is compressed to see how that would change the behavior of the piece. For one of their simulations, the researchers recreated a foldable wine bottle gift bag that uses a cylindrical shell origami called the Kresling pattern. When the top of the structure is com pressed to a threshold point, sections of the bag collapse in on themselves in multiple stages. “he software also allows us to see where the energy is stored in the structure and better understand and predict how the objects will bend, twist and snap,” Paulino said. s aid.
An aortmnt of origami trctr that can b dignd in nw oftwar. (Crdit: Rob Flt) Paulino and his team recently designed an origami structure capable of being reconfigured to fold into different shapes. he goal was to lay the groundwork for structures that could eventually reconfigure themselves, such as an antenna that could change its shape and operate at different frequencies. “With this new design approach, we’re able to get insight with every iteration of the design, which will guide our design choices and ultimately give us more power to fine-tune these structures,” Paulino said. he software will be provided free for other researchers to use and will be used as an educational tool for undergraduate students at Georgia ech. *This research was partially supported by the National National Science Science Foundatio Foundation n (NSF) under grant grant CMMI-1538830, the China Scholarship Council (CSC), and the Raymond Allen Jones Chair at the Georgia Institute of Technology. The content is solely the responsibility of the authors and does not necessarily represent the official views of those organizations. Reprinted with permission from Georgia Tech Research “Horizons”. Citation: K. Liu, G. H. Paulino, “Nonlinear Mechanics of Non-Rigid Origami: An Efficient Computational Approach,” (Proceedings of the Royal Society A, 2017). http://dx.doi.org/10.1098/rspa.2017.0348
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The Lord of
the Pins Mark W. Kennedy, of South Whitehall Twp., PA, passed away on February 18, 2018. Born on March 14, 1950 in Detroit, Mark was a widely known gure in the internat international ional origami origami communit community y. He was beloved for his humor and generosity. generosity.
ABOVe. Mark, Arln and Jacob Gorchov, circa 1991 (Corty of G. Gorcho Gorchov) v) BeLOW. Mark and hi wif Arln Gorchov (Corty of Brian Kolin)
He and his wife Arlene founded Lehigh Valley Origami Enthusiasts at their home 25 years ago, where they built a community around their love of origami. Mark will forever be remembered for his warmth, generosity and humor. humor. Mark Knndy will b rmmbrd for hi wondrfl taching, grat n of hmor and tho batifl gloy origami pin and magnt. (Photo by san Dgan)
Lillian Oppnhimr and Mark Knndy in Nw York (circa 1987. Photo corty of Robin Macy) 12 The PAPER | Wintr/spring 2018
Mark Knndy dring th 50th annivrary of th Britih Origami socity stratfordupon-Avon, 2017. (Photo by Robin Macy).
Begun in 1995, the Michael Shall Volunteer Recognition Award Award is given to specific dedicated volunteers for extraordinary service to OrigamiUSA, in the t he spirit of Michael’s volunteerism. Michael believed that "origami is for anyone, anyone, anywhere, any time!" and the best way to spread the joy of origami was by volunteering. Mark was a volunteer, a teacher and an ambassador for OrigamiUSA. he Board of Directors was pleased to give him the Michael Shall Volunteer Recognition Award in 2018 shortly before he passed away. away. he Board is deeply saddened by his loss. his tribute was read to Mark during his last days.
2018 Michael Shall Volunteer Recognition Award honoring
Mark Kennedy
Mark Knndy i known arond th world for hi indomitabl nthiam for origami and gnro pirit. Almot vryon who ha mt him in pron i th prod ownr of on of hi gloy foldd pin for which h i o famo, many givn grati by Mark a a ign of origami commnity frindhip. Mark and hi wif, Arln Gorchov, hav bn a link pcially btwn eropan and Amrican foldr. Thy lov travling to ovra convntion, whr thy fond and hard o many nw modl, book and papr, and vn mor importantly, nw frind. Thy alo hav gon ot of thir way to wlcom forign viitor to th us, inclding tho arriving in Nw York for OrigamiusA Annal Convntion. In addition to picking viitor p at th airport, and making r thy gt ttld in proprly and know whr to at, Mark and Arln hav rglarly invitd intrnational viitor and many, many othr, to thir hom aftr convntion for an vnt that ha com to b known a “Fold and Fd.”
Mark i a liflong paprfoldr, having dicovrd origami whn h wa watching a TV how a a child and fll in lov with it. A h foldd and incrad hi pronal kill, h fond that h lovd to har hi origami world. evntally h mt Lillian Oppnhimr and joind hr rglar gt-togthr whr h mt fanatical foldr of all ort --- crator and paionat origami artit. It bcam clar that h had an amazing ability to rmmbr almot vry modl h larnd (a wll a vry jok), which gav him a crtain frdom whn taching to combin comdy and charm with th clar rcital of tp. H wa dfinitly a tachr in th tradition of Michal shall, and wa agr to tach anyon and vryon. Mark wa on of th arlit mmbr of Th Frind of Th Origami Cntr of Amrica, OrigamiusA’ Origamius A’ prdcor. prdcor. H trard hi tim at Lillian’ monthly ion o mch that whn th opportnity cam along to facilitat th Folding snday at th Amrican Mm of Natral Hitory, h conidrd it an honor. Mark and Arln contin to facilitat Folding snday to thi day. Mark ha rvd in othr official capaciti for OrigamiusA, inclding bing on th Board of Dirctor from 1990 to 1996 and co-chairing th Bin Committ. A ch h rviwd nw book and papr, and broght many nw itm to th committ’ attntion. H taght at vry Annal Convntion, vry Pacific Coat OrigamiusA Convntion, many spcial sion and vario othr convntion in th us and abroad. Mark and Arln tablihd a commnity origami grop in thir hom ara, and thir twic-yarly “Fold and Fd” vnt at thir Pnnylvania hom ar warm, caal, intn, pportiv nvironmnt for nw and xprincd foldr. Mark ll hi pin and magnt, bt i far mor likly to giv thm away. H ha high rgard for th right of crator, and ha formd trong bond with many of thm. undrlying it all, h ha alway prad hi lov of origami. H giv gnroly of hi tim, whthr for hlp ndd in any way or to tach. In 2007 Mark wa honord with th OrigamiusA Ranana Bnjamin Award for Taching.
Mark taching at MFPP' L Rcontr d Mai, Franc, 2014.
For all of th raon, th OrigamiusA Board of Dirctor ha votd to giv Mark Knndy th Michal shall Volntr Rcognition Award, or hight honor.
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DIAGRAM | DAMIAN | DAMIAN MALICKI
Bird E T A I D E M R E T N I H G I H
Recomended paper size: 30 x 30 cm Model and Diagrams © Damian Malicki, Poland
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DIAGRAM | DAMIAN | DAMIAN MALICKI
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ORIGAMI IN SCIENCE, MATH, AND EDUCATION MEETING
7OSME th
th
4 to 7 September 2018 The 7 th International Meeting on Origami in Science, Mathematics, and Education (7OSME) will take place in Oxford, United Kingdom between 5th and 7 th September 2018. Mark Bolitho he conference will take place across three sites within Oxford University, including St. Anne’s college, he Maths Institute Institute and the School of Engineering. he 7OSME conference will be followed by the British Origami Society’s autumn autumn convention in the same venue (7 th to 9th September 2018). 7OSME is an academic conference that explores the interactions amongst origami, mathematics, science, and education. his year’s year’s event will be the seventh in a series of conferences held every four years since 1989, when the first International Meeting of Origami Science and echnology, was held in Ferrara, Italy. Since 1989 the OSME conference has been held in different locations around sATTeLITe
DNA
the world. In December 2014, 2014, a group from the UK made a successful bid to host the 2018 OSME in Oxford university, beating five other international international proposals to hold the event. event. he previous OSME OSME event was held in okyo in 2014 and had an attendance of around 300 people interested in, or involved with, applied origami research. research. he Oxford event is the first time that OSME will be held in the UK, and only the second time that the event will be held in Europe. Previous OSMEs have been held in Japan, USA, and Singapore. Origami is generally associated with folding paper as an artistic pursuit. However, However, from this craft base there has been a growing appreciation appreciation of the process of folding and its application. Origami is increasingly being used in the classroom to explain various geometric principles and mathematical mathematical ideas. At a higher level, origami mathematicians are looking at the science behind the folding process. Areas of research include, developing a mathematical language to describe the folding process, the foldability of origami patterns and surfaces, and the development of folding algorithms. Engineers are researching traditional geometry and folding and its application to the development of new structures
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and materials. he research area looks to develop objects that ccan an transform by folding. his may involve involve the transfortransformation of a smaller object to a larger one. his is being applied to development of space satellites, medical devices, and the enhancement enhancement of the strength of materials by incorporating folding in its design. he three-day conference will be comprised of presentations made by participants. hese will be presented presented and and published as papers. he process for for selecting these talks is underway and we have received more than 200 proposals for presentations across the core areas of the conference c onference,, Engineering, Maths, Education, Art and Design and History. History. he final selection process will involve a peer review, with selected papers being published in the book Origami 7 . 7OSME will bring together researchers and interested parties from around the world and we are expecting around 300 attendees, with a high level of attendance from Japan. Japan. he event has funding support from various Anglo-Japanese Anglo-Japanese groups. Previous OSME conferences have created a local legacy, and the okyo conference resulted in a series of bi-annual meetings where researchers could exchange ideas and collaborate. here are plans to create a continued European legacy beyond the conference. he BOS autumn convention will take place on the weekend following on from 7OSME. his convention convention will be a twoday programme of folding classes. Registration for the event is open. More information information and registration: http://osme.info/7osme/
Life is Beautiful A Trib ribu ute to to “Ya “Yami” Ya Yamauchi Yoichi "Yami" "Yami" Yamauchi Yamauchi died on December 25, 2017 in Torrance, California at the age of 81. His health had been declining for some time and he passed away peacefully. peacefully. OrigamiUSA pays homage to a man who so charmingly embodied the spirit of paperfolding. By Michael Sanders with contributions from Patricia Grodner and Chikako Yamauchi. Yamauchi. Yoichi “Yami” Yamauchi’s infectious personality could awaken the child within us all; even grown adults.
Yami charming a crowd at Dcano Gardn whil folding a box with hi prcrad papr and acrylic block. Prhap a Yami-im i making thm all mil, “That’ yor problm. Tak yor tim, and hrry p!” H alo d to ay that to do origami yo nd “two hand, two y, two ar, and NO moth.” It trn ot, w did nd or moth to mil, lagh, ooo and aaah a Yami prad th magic of origami. (Photograph by Kazyohi Ito, 2013)
simpl pinnr bring o mch fn: Yami’ Origami Spinning Top (top) and Little Blow Top (bottom) (Photograph by Hiako Tanji, 2018)
My first recollection of Yami Yamauchi is in December of 2003. I had been given space at the Japan Expo in Los Angeles. During the event, Yami stumbled upon my booth. I knew of him from being involved with the Westcoast Origami Guild, which I joined the previou previouss year. year. But I didn’t didn’t really really know him all that well, yet. He sat down and asked how I had acquired the booth. He folded a David Brill book and a Christmas tree for me while we talked. Sometime shortly after this, we began working together at cultural festivals and events, along with our friend Joe Hamamoto. Hamamoto. he three of us were the hree Origamigos. I’d often get asked if Yami was my dad. So I started joking around, “No, that’s my son, Yami; and that’s my other son Joe (who’s (who’s about 10 years older than Yami). Yami Yami seemed to really enjoy this and often called me Dad, even when there was no one else around to impress. Yami and Joe became my mentors. When I first came to the realization that there was such a thing as modern origami designs, I delved into the complex and super-complex. Montroll, Lang, Kamiya—these were
the artists whose models excited me. But Yami and Joe brought me back to appreciating the joys of action models; the beauty of simplicity; the peace of paper and the power it had in delighting young and old. hey were magicians of the heart and their medium was paper. Above all else, by befriending and collaborating with these two happy peace warriors, I learned to appreciate the art of having a generous spirit. Yami and Joe are generous to a fault: Giving of their models, giving of their time, giving of their knowledge. I was always trying to figure out a way to profit. o make sure we received fair compensation for our time and efforts (when it mattered); and that they were not being taken advantage of by those unappreciative of their talents and of the art of origami. Yami invested in anything that he thought t hought would bring joy and happiness in the moment; and seldom asked for anything in return. One of his favorite models to teach the public is the traditional Thai tulip with tulip with leaf and stem. He would buy boxloads of clay pots and freely hand those out so that people had something in which to display their folded Thai tulip. tulip. Yami had a couple of die made of certain models in order to stamp the crease pattern onto cardstock paper. his made more advanced models readily accessible to novice folders, to draw them into the magic world of paperfolding. Wintr/spring 2018 | The PAPER 19
Yami’s aim was to bring happiness into people’s lives; and origami was merely one vehicle through which he could accomplish this task. Above all else, he loved to joke and entertain.
these non-origami toys; and then after showing people peopl e how it works, works , he’d give them their own to keep. And ask nothing back in return. he smiles and laughter of others were his compensation.
He went through a phase where he delighted in a trick he learned from magician Lennart Green. He would buy clear plastic cups, hide one under his armpit, then go shake someone’s hand. As soon as he clasped the pers on’ on’s hand, he’d wince as though his hand were being crushed as the sound of the plastic cup crackled. Reactions were often hilarious.
Yami told me that he didn’t grow up doing much origami as a kid. It only became one of his passions later in life when in 1986 he was grief-stricken by the sudden loss of his son in a sporting accident. He had given his two kids origami paper and a book when they went off to school, thinking it would remind them of their cultural heritage. After his son died, he learned that his son had developed a strong passion for folding paper. Yami came to adopt his son’s hobby; and it became a therapeutic means of healing himself. Yami wrote about folding himself from grief to joy in his book Yami’s Origami: Origami : First Steps to a Thousand Paper Cranes.
He also went through another phase where he discovered chain rings that he could make cascade endlessly, reminiscent of Jacob’s Jacob’s ladder ladd er (another clever cl ever toy, of which Yami designed a paper version). Before this, he also had discovered a trick he’d do with a single ring on a chain. he challenge was to make the ring connect to the chain by holding the chain and f lipping the ring r ing onto it. He’d walk around with this prop around his neck, like a necklace. All for the sake of taking it off to show his trick. B eing the generous person that he was, I remember him buying material for both of
After a period of time, Yami went beyond folding pre-existing works and matured into creating his own designs; this included introducing his Fireworks model, a big hit at the OrigamiUSA Convention in 1998. Since then, he has had a number of original designs
In hi Mmory Yami told his daughter that attending OrigamiUSA Origami USA conventions made him “happy like a puppy.” Donations in memory of Yami can be made to OrigamiUSA. Yami’s family approves of OrigamiUSA’s decision to use the donations for a scholarship fund to bring to future conventions conventions aspiring folders, both the young and young at heart. As Yami aptly wrote in his book, “As “As I saw the children fold their own paper models I could see the future of the world in their hands.” Donations are tax deductible and need to be earmarked “In Memory of Yami” (in the comments section for online donations or on the memo line of physical checks). OrigamiUSA is a nonprofit organization; its recent 990s can be found here:
http://990finder.foundationcenter. http://990finder.foundationcenter.org/990results. org/990results.aspx?action=Find&fn= aspx?action=Find&fn=o o rigami+usa&st=NY&ei= Requests for permission regarding Yami’s origami models, materials for which he was the copyright holder, and other intellectual property can continue to be sent to
[email protected] Even though Yami was a public figure in the origami world, please respect the privacy of his family. Condolences and your favorite Yami stories can be posted on Yami’s Facebook wall.
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standing room only to fold tlip with Yami at Chin Amrican Mm’ Lantrn Ftival, Lo Angl (Photograph by Michal sandr, 2007)
Onc yo olv th mytry of how to fold Yami’ Pandora’s Box , yo can giv it to omon to olv th mytry of how to opn it (Photograph by Hiako Tanji, 2018)
published in books and origami magazines (including his 1998 book Yami’s Origami). Origami ). He has given permission to others without restraint to share his work. A number of his models are easily found throughout Youube ouube tutorials tutorial s and on various sites. None of them captures the charm, though, in how he himself would personally and personably teach people. His method always injected humor; and sometimes an acerbic wit. Some of the best times I’ve had on this earth have been in the presence of Yami and Joe. Whether it’s officially teaching origami at an event; or unofficially still doing origami at a restaurant and providing free entertainment to its patrons, I will always treasure the decade of folding fun that I had with these two. But the only permanence in this life, is change. “It was good while it lasted.” Joe sometimes tells me.
ABOVe. Yami’ origami homag to th traditional toy Jacob’s Ladder (top) (top) and the Magic Wallet (bottom) (bottom) that can mak mony mov bt not mltiply (Photograph by Hiako Tanji, 2018) RIGHT. Yami’ playfl Doodlebug (right), (right), mad from indx card, danc arond Yami’ famo Fireworks (top (top lft) (Photograph by Hiako Tanji, 2018)
“ As children fol fold d their their own paper mode models ls As I saw the children future re of of the worl world d in thei theirr hands. hands.”” I could see the futu and Yukie Partos. his was the Descanso Gardens annual Cherry Blossom Festival. Huge, non-stop crowds. Yami passed the torch on to me for this event, sensing his health beginning to decline. I could tell, much like Joe, he had started slowing down. Yami passed away peaceably on December 25, 2017. He had enjoyed one last visit from f rom his beautiful beautif ul daughter before he left us.
Yami and hi favorit tlip at sihoen Japan Gardn in Van Ny (Photograph (Photograp h by Michal sandr, 2009)
Joe, who is older, was the first to “retire” from working festivals with us. His constitution just could not handle the long hours and travel time, anymore. But at home, he is still folding away—a veritable one-man factory at producing elaborate modulars which he freely gives away. he last year Yami and I worked together was 2015, along with Mike
Yami will be greatly missed by us all. Instead of mourning his loss, however, I am convinced he would want us to celebrate his life; and dwell on the fun times and the goodness he spread throughout the world; and for us who knew him, to find comfort in our times of grief, as he did, in the simple act of folding the peace of paper we hold in our hands. For ourselves. For others. Be generous to the world. “Life is beautiful,” Yami would say. wenty years ago, in his book, he wrote: I had lost one child. But here be fore me I had gained hundreds who
watched and learned from me with eager, glowing faces. All of this, I had found found through the magic of origami. Origami transcends language. It gives peace and is full of the symbolic language of peace. It [the book Yami’s Origami] is part of my gift to give in return for a gift I have received in immeasurable quantities. I dedicate it, with a small prayer for my son, who who I sense is alive alive somewhere in all of this wonderful magic. Yami attended many OrigamiUSA conventions when living in the NY area. You never had to look hard to find him as he was always at the table with the most people gathered around. After he moved to California, his spirit was so missed at the con ventions. ventions. OrigamiUSA OrigamiUSA decided to sponsor sponsor Yami to come to convention c onvention one year. He was very touched by this gesture and made the most of every minute. In 2006, Yami was given the Ranana Benjamin Award by OrigamiUSA, recognizing his contributions as a teacher—especially to children (aren’t we all children at heart?). Wintr/spring 2018 | The PAPER 21
DIAGRAM | JULIAN | JULIAN RODRIGUEZ
Manta Ray E T A I D E M R E T N I H G I H
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Text and Diagrams © Julian Rodríguez (Florida, USA. 2017)
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DIAGRAM | JULIAN | JULIAN RODRIGUEZ
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COLLEGE STUDENT, RYAN DONG’S, PAPERFOLDING THESIS
A+ in Origami Book Design As someone who didn’t find an origami community until his late teens, Ryan Dong wanted to produce a book that not only teaches, but also engages the reader into the world of paperfolding. “I didn’t didn’t want to make a book that was just a collection of origami diagrams. I wanted to make the process of folding paper more personal, relatable, and fun”, he said. s aid. Originally from China, Ryan started teaching himself through books at a young age, but only when he moved to New York York City did he finally find a group of folders (Origami Meetup Group or OMG) that helped him improve his folding and design his own models. Hence, it is not surprising that when Ryan had to find a topic for his undergrad thesis, he chose origami. “Everyone in the thesis class were doing different projects, some relied on animation, others on branding or app design.” design.” Ryan, instead, chose publishing as he already had the book idea in mind. During the summer of 2017 he wrote the proposal and in December he was ready to showcase the elements of his project – which included posters and the book – during the hesis Exhibition at CUNY's Robinson Center C enter.. Ryan's focus was on design. He wanted to avoid the pitfalls and inconsistencies that are usually found in Convention books. He also analyzed the layout and typography of relevant books like the Nicolas erry series, and Spiral by by omoko Fuse. He liked the quality of vector illustrations in Drawing Origami by Nicolas erry. “Although the artwork is digital, the illustrations look more like they were 26 The PAPER | Wintr/spring 2018
Among the various theses presented in December 2017 by the City University of New York (CUNY) Electronic Design & Multimedia undergraduate students, an origami book project by Ryan Dong received much praise and attention. It is always very encouraging to know that origami can be represented at the university level. The Paper wanted to learn more about the process that Ryan followed for his project: “Origami: One Sheet, Two Colors”.
ABOVe. Ryan Dong' projct diplay appar at th far right of th xhibition at CuNY Robinon Cntr BeLOW. A viw of th diplay at CuNY Robinon Cntr.
Ryan Dong' bnny holding th book.
ABOVe. Work pag howing th typography cratd for th book LeFT. Pag ampl of th book.
he visual unity throughout each chapter comes from the vivid colors that are used to differentiate between models and different sections of the book. Each diagram is completed with a picture of the model folded by Ryan Dong and a crease pattern.
hand-drawn,” he explained. As for Spiral , he said “It beautifully combines flat illustration with photographs.” photographs.” He also praised the selection of sans-serif type that gives “a sense of elegance and peacefulness.” He noted that both sources use a thick directional “ribbon” for each diagram background and decided to take a similar approach for his own book: “pairing high quality photographs photographs with flat f lat diagrams and using a Eurostile font for the c over and sans-serif for the body.” Last but not least, he looked for inspiration in the works of Eric Eri c Joisel and Román Díaz. “I always try to add the color change technique in my models like Díaz does.” does.” He also wanted to instill in his own models “the emotion and movement” of Joisel's style. style. What really makes Ryan’s book special and different is the amount of detail that
he put in for the readers' sake to make the book more friendly and interesting to folders of all levels. Each diagram is “connected” by that brightly colored ribbon that runs behind the diagram's steps in order. order. While it may seem like a small thing to add, it works at a subliminal level, linking the readers with paperfolding. ype fonts also play an interesting role in Ryan’s book. Each page of the book features features an origami influenced inf luenced typeface with a decorative element continuing to the next page. Many origami-based typefaces use cutout blocks which can’t can’t actually be folded using just one sheet of paper. paper. Instead, his typeface can actually be folded if the reader takes a strip of paper and follows the illustrations. his origami typeface font is the main display type element in the book and visually unifies each chapter. he title of the book also uses this original origami font.
Even before he put his book into production, Ryan already knew exactly what he wanted to do with it. He had a very specific vision for his project, and his final product reflects this careful c areful planning. Instead of a classic rectangular shape, the book is square, about 8.5 inches (21.6 cm) on each side. he thesis portfolio included promotionpromotional posters, stickers, and a full copy of his book. Each piece was c arefully displayed at the Robinson C enter's exhibition. It is clear that this project meant more to Ryan than just an assignment. He ordered a few copies out of his pocket, but the real book has yet to see the light. While he continues looking for a publisher, publisher, he explained, “I don’t want it to be just a good thesis project. I want to see a commercial success of this book. It has also been a great gift for my origami friends, who have encouraged me all along.” Text: based on Ryan Dong's thesis with contributions by Maxwell Jones. Photos courtesy of Ryan Dong.
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ARCHITECTURAL TEACHINGS - BAUHAUS STYLE
A Paperfolding Trove Hidden in the New England Woodlands The exploratory studies of Josef Albers' students in Germany and the United States have long been of interest to paperfolders, especially the 3D curve-creased forms, fans and paraboloids. Many are carefully stored at the Josef and Anni Albers Foundation in Connecticut. During a recent visit to the Foundation, I had a rare opportunity to see them all. FAR LeFT. Vario corrgation and corrgation tlation mad and prntd by Fritz Hortman dring hi workhop at MoMA in Jn, 2017. LeFT. Mantl dignd by Jof Albr inpird by hi rarch on papr corrgation. NeXT PAGe. Work on papr mad by tdnt of Jof Albr at Yal univrity in th 1970'. stdnt wr challngd to fold a pic of papr o that th nal modl wold tand on it own. Thy alo practicd tlation and corrgation.
by Laura Rozenberg (text and photos)
visit the Albers Foundation Foundation to talk about about his workshop experience.
Fritz Hortsman, artist residency and education coordinator at the Josef and Anni Albers Foundation of the United States, delivered a workshop on the teachings of Josef Albers last year at MoMA. he course was aimed at the general public who worked, played and tested the effects of folding paper based on Albers' teaching method.
Not only was the conversation interesting, but he opened before my eyes a small collection of paper constructions that Albers' students created during the courses he taught at Yale University in the 1970's. here were about 16 pieces stored in archival boxes. heir state of conservation is good with some models showing signs of foxing (brown stains). Some photos I took accompany this note.
Unfortunately I was not in New York at that time, as I would have loved to participate. But in November, during a brief trip to the United States, I contacted Hortsman and he kindly invited me to 28 The PAPER | Wintr/spring 2018
here were fanlike foldings and curvedcreased constructions of various types. I did not see the p araboloid which has been documented as the earliest known
reference of curved-crease sculpture, s culpture, made by a student at the Bauhaus during Albers' preliminary course in paper study in 1927. (Probably it does not exist anymore, anymore, although there is a picture in a book by Hans Wingler. See references.) When the Bauhaus, the first school of design in the world and a modernist beacon of the 20th century, century, was forced to shut down with the advance of Nazism, Albers emigrated to the United States with his wife Anni. He continued teaching at Black Mountain College in North Carolina and later at Yale University. One way to introduce students to construction and aesthetic thinking was through paper. Albers proposed exercises that were both
simple and thoughtful; the student had to discover, discover, based on a few guidelines –for example, "make a single fold and make the paper stand on the table," “find the most interesting shadows” shadows” or the “most aesthetically pleasing.” pleasing.” hese restrictions (as any paperfolder would know well today), instead of limiting, seemed to stimulate their creativity. “While seemingly limiting, Albers’s Albers’s control over the circumstances of his classes actually led to increased experimentation and creativity among his students. As one scholar has pointed out, “. . . the works created in Albers’s preliminary course reveal a variety that demonstrate . . . namely, that for creative people, despite external restrictions – which are, of course primarily pedagogically motivated here . . . the number of possible solutions is almost unlimited,” wrote Ester Adler in her thesis “A New Unity! he Art and Pedagogy of Josef Albers.” Albers went down in history as an artist (he excelled in painting, wood and glass) but he was also an innate teacher. “I think he really loved being among students. In all of his art and in all of his teaching it is evident the two are inextricable,” Hortsman said. he Albers Foundation, Foundation, located in Bethany, Bethany, Connecticut, almost hidden down a road and into the woods, is devoted to preserving the memory and work of Anni and Josef. I am very grateful to Fritz Hortsman for the wonderful opportunity he gave me to visit the foundation foundation and take these photophotographs. For me it was an experience that will always live in my memories. To learn more: a) Josef and Anni Albers Foundation: Foundation: www. albersfoundation.org b) “A New Unity!” The Art and Pedagogy of Josef Albers, by Ester Adler Adler (thesis): drum.lib. drum.lib. umd.edu c) History of Curved Origami Sculpture, by Erik and Martin Demaine: erikdemaine.org/ curved/history d) “Bauhaus: Weimar, Dessau, Berlin, Chicago” by Hans M. Wingler. MIT Press, 1969 and 1978.
Wintr/spring 2018 | The PAPER 29
BOOK REVIEWS
A TRIBUTE TO DAVID LISTER A tribute to David Lister Lister.. by Nick Robinson. British Origami Society. Available at The Source: $37.50 Review by Patsy Wang-Iverson A book with glossy pages and crisp colors, obviously compiled with love, A Tribute to David Lister is is not a book of origami models, although it does contain diagrams for the one model David Lister created and an excerpt of instructions for the lover's knot from Robert Harbin's Paper Magic . Rather, it is an homage to a man who played a vitally important role in researching the history of paper folding. For those of us who never had the opportunity to meet David Lister in the flesh – though we may have had the pleasure and privilege of communicating with him via email and reading his Lister List – Nick Robinson’s compilation, A Tribute to David Lister, offers an intriguing glimpse into a man who had a life long love of and was an avid and precise historian of paper folding. Introduced to paper folding at the age of three, David Lister's fascination with paper folding,
which appeared magical to him, only intensified with age, leading him to become recognized as the most knowledgeable historian of paper folding, who would respond thoughtfully and in depth to all questions he received. received. The book contains an array of perspectives on and by David Lister: • Fond reminiscences by friends who knew him for 50 years, • A brief but fascinating autobiography, • His family’s perspective, • His own memories of earlier giants in paper folding, • A sampling of his correspondence with people from around the world, • His writings on a wide range of origami topics • Diagrams by Nick Robinson for his one creation, Four Thirsty Birds (named by Florence Temko) accompanied by his two page critique of the diagrams
LeFT. Part of David Litr' xtniv library on papr folding. RIGHT. David Lir and Lillian Oppnhimr, 1990.
Interspersed among the text is a treasure trove of photographs of nostalgic and historical value, including four pages of photos of his library, which may humble even the most obsessed collector of books on paper folding. David Lister was not only a serious student of the history of paper folding, he made history as well – as a founding member of the British Origami Society, which celebrated its 50th anniversary in September, September, 2017. In this role, Lister rubbed elbows with luminaries of paper folding from other countries, as documented by many photographs found throughout the book. As a sample of Lister's writing, there is an article he authored in 1999 that everyone should read: “Is it correct to call origami a Japanese art?” Rather than summarizing Lister’s strong views on this topic, we leave it to the reader to find out (pp. 46-47). Everyone new to origami should read these pages. Mick Guy captures succinctly the importance of David Lister to the world of paper folding: “We “ We are very grateful that he chose origami as one of his interests.” is available at A Tribute to David Lister is The Source of OrigamiUSA.
30 The PAPER | Wintr/spring 2018
New Books Mmbr rciv a dicont. Chck th wbit for th complt lit of pric.
ANIMAL ORIGAMI Origami Land + Author: Kawahata 32 animal models from single squares. Models start with simpler animal faces that creatively use the coloring on both sides of the paper (Dog, Cat, Red Panda, etc.), then moves on to intermediate models (iger Face, Giraffe, Lion, Aardvark, Moose, etc.), then advanced models (Boar, Bison, Gorilla, Japanese Monkey, Monkey, etc.), and finally complex models (Racoon, Kangaroo, Deer). Clear color diagrams with full color photos of finished models and a pictorial table of contents. In Japanese.
128 pp.PB. (LI-C) #B17-132| $21.00
DINOSAUR ORIGAMI Origami Land +
TWISTS, TILINGS AND TESSELLATIONS Author: Lang Explore the geometric and mathematical forms of nonrepresentational origami, especially tessellations. he book has information for those with basic, intermediate, and advanced levels of math to learn how to fold mathematically. Expand your knowledge about angles, algebra, trigonometry, geometry, linear algebra, vecto rs, an d op erator s to unders tand how to reproduce patterns and create original models. Chapter topics include Vertices, Periodicity, Simple wists, wist iles, ilings, Primal-Dual essellations, Rigid Foldability Spherical Vertices, 3D Analysis, Rotational Solids.
736 pp PB (I-C) #B18-101 | $60.00 $60.00
New Papers
Hello from The Source,
January brought about a big change to The Source. Heidi Lenney (that’s me) took over as manager for The Source. Since then, I have been busy learning the ropes of what it takes to ll the very big and busy shoes left by the Hamiltons. I hope I can continue to bring the variety of books, papers, and products that have made The Source a wonderful place to shop for your your origami origami needs. needs. If you haven’t visited the website since the last issue, let me introduce you to three new books along with a black and white paper pack that have been added to the inventory. In addition, the website has over 175 books and 212 variety of papers in the inventory. One can denitely nd some hidden gems for your individual collection.
Heidi Lenney
BLACK AND WHITE GEOMETRIC MEGA PACK
Author: Kawahata 27 dinosaur models. Models start with simpler models (Supersaurus, Velociraptor, Maiasaura, etc.), then moves on to intermediate models (Diplodocus, riceratops, yrannosaurus, etc.), then advanced models (Stegosaurus, Spinosaurus, Giganotosaurus, yrannosaurus Skull, etc.), and finally complex models (Ichthyosaurus, Arhaeopteryx, Pteranodon, etc.). Clear color diagrams with full color photos of finished models and a pictorial table of contents. In Japanese.
16 different black and white geometric patterns with a white reverse. Paper is thin and smooth-textured on both sides. Patterns include dots, checks, gingham, houndstooth, stripes, zigzags, and some fancy swi rls. he high-contrast designs look great on many models and are ver y interesting when combined on modulars, boxes, stars, ACs, etc. or when used in c ombination with solid colored papers. 6” squares | 200 sheets | P06-7286 | $10.00
128 pp.PB. (LI-C) #B17-133 | $21.00 $21.00
Wintr/spring 2018 | The PAPER 31
Origami Connect hosts online classes you can take via the web from anywhere in the world! Origami Connect classes are taught in two groups, Spring and Fall, with individual classes happening approximately monthly. monthly. See the class listing for the complete schedule. You do not need to be a member of OrigamiUSA to attend Origami Connect classes. Live class size is limited to the first 100 registrants. All registrants will receive a link to the tape recording of the live event. Register early! Reg istration for each event closes five days prior to the event. Presenters are volunteers donating their time and talent to share the joy of origami and connect folders everywhere. Please support us to help us keep this program affordable and accessible to as many folders as possible! Register here: https://origamiusa.org/connect
Singing Fish Season: Winter/Spring Date and Time: Sunday, May 20, 2018,
3:00 pm to 5:00 pm EDT Level: Low Intermediate Presenter: Gilad Aharoni Gilad Aharoni has been folding and accumulating origami books for over 30 years. At some point, he started making lists of what's inside his books, but new books kept on coming and he never stopped. Those lists are now available for all to search at http:// www.giladorigami.com Along the way, Gilad has also designed a few of his own models. He'll teach one of his rst and favorite designs: The
Singing Fish - a fun action models from a $ bill. He will also talk about his database and website, and how he owes his current livelihood to origami. Materials needed: Please have a US dollar bill ready, or any longish rectangle of any kind of paper.
GLOBAL EVENTS CALENDAR APRIL, 2018 4th Italian Origami and Didactics Convention | April 13–15, 2018 | Senigallia (AN), Italy Spanish Convention XXI | April 28–May 1, 2018 | Alcalá de Henares, Spain
MAY, 2018 Recontres de Mai - French Convention | May 10–13, 2018 | Aix-en-Bains
Special Folding Fun Sessions spcial Folding Fn sion ar origami cla hld at th Amrican Mm of Natral Hitory (AMNH) in Nw York City in th school Lnchroom. Yo may rgitr by phon at 212-769-5635 or onlin.
(France)
8th Origami Tanteidan Kyushu Convention | May 26–27, 2018 | Saga City, Saga Prefecture (Japan)
JUNE, 2018 Origami Tsunami | June 8, 2018 | Crossville, TN (USA) Recongurable Mechanisms and Robotics (ReMaR) | (ReMaR) | June 20–22, 2018 | Delft, The Netherlands OrigamiUSA 2018 Convention | June 22–25, 2018 | St. John's University in Queens, New York
Hr i a dcription of what yo can xpct to larn at a spcial Folding Fn sion. For mor information, viit: origamiusa.org/les/ specialsessions_2018_spring.pdf THE NEXT EVENTS WILL BE HELD ON THE FOLLOWING DATES: DATES:
Sunday, April 15, 2018 Sunday, May 20, 2018
JULY,, 2018 JULY 201 8 Polish Origami Association (Polskie Towarzystwo Origami) | July 20–22, 2018 | Piła, Poland
AUGUST, 2018 Centerfold 2018 | August 10–12, 2018 | Columbus, OH, (USA)
SEPTEMBER, 2018 7OSME+BOS Summer Convention | September 5–7, 2018 | Oxford University, Oxford, UK
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
Modular wreaths and rings taught by Mary Ann SchebleinDawson
INTERNATIONAL FOLDERS - ITALY
Riccardo Foschi's denition of Origami Origami is an art, a technique and a science; a puzzle to s olve, a language that connects people of d ifferent cultures; it’s a bunch of complex mathematical theorems for professors, but it’s also a game for children; it’s a relaxing activity, but it’s it’s also very frusf rustrating sometimes; it needs patience and precision, but try to ask about precision to Victor Coeurjoly and see if he agrees; origami starts from a square sheet, but not always; with origami you fold every subject, but actually you can’t; origami is when you fold paper, but also metal, plastic, wood, rubber, dehydrated dehydrated seaweeds (I swear I did It once!); in origami you can’t use “cuts”, but in traditional origami they used cuts a lot! herefore, origami for me is a contradictory kaleidoscope of arts, techniques, materials, constructions, geometric figures and everything, which have only one common factor: the “fold”. For more about Riccardo Foschi, read the interview by Ilan Garibi in The Fold: origamiusa.org/thefold/article/origamidesigners-secrets-riccardo-foschi Riccardo Foschi's flickr site: www.flickr. com/photos/125441466@N02/
34 The PAPER | Wintr 2018
It’s All About
the Crease Patterns While most 14 year olds are playing video games, 14 year old ovi Wen is designing super-complex lobsters and crabs in his room. ovi is in 8th grade and goes to Hunter College High School. He loves math as well as origami and also enjoys competition math in his free time. He has been going to the OrigamiUSA Conventions since he was seven and though he may be younger than many of the people he folds with, he makes up for it in knowledge. One of the main reasons ovi was able to advance to such a high level is his unique experiences in learning. He started out trying crease patterns only a few years after starting origami instead
Riccardo’ Riccardo’ Fact sht Tovi’s First book: The book: The Complete Book of Origami by Robert Lang Favorite Favorite designer: Shuki Kato His recommended paper to use: Start with Kami, foil paper for shaping, big foil for complex test folding, and Ogami for models. A good crease pattern to start with: scorpion by Tadashi Mori Great YouTube YouTube channel channe l for learning techniques: Tadashi Mori - How To Origami
of relying on just diagrams. his lead him to more complex concepts and models. He says he did this so early on because, “You “You see the mod els that have been diagramed in books, even the very complex books, and then you see the models that are in crease patterns ... some of the nicest, most beautiful models haven’t been diagrammed. hey’ve only been crease-patterned.” Using crease patterns also seemed to have greatly helped ovi with his own designs. he beginning of his designing career was finishing a model his own way, way, and with crease patterns you have to shape a model your own way as a finish. He said “ he real transition was from creating my own pretty simple models to creating complex models where I map out the c rease patterns first, and it’s not just trial and error.” His message for other other kids is “[Origami] is a beautiful artform. It is where math and art meet ... you want to begin with a diagram, then you want explore the origami world to see what is possible.” Wintr/spring Wintr 2018 | The PAPER 35
