Masters of Mini-Tessellations: On Folding Robert Lang's

I S S U E 114Fa l l 2013
The Magazine of OrigamiUSA
Masters of
Mini-Tessellations
Ralf Konrad and
Frank van Kollem
On Folding
Robert Lang's
Black Forest
Cuckoo Clock
Purchased by lupita martinez (gpemtza@yahoo.com) from OrigamiUSA (http://origamiusa.org). Please do not redistribute.
In This Issue
Issue #114 Fall 2013
The Epitome of Origami Joy
At the OrigamiUSA Annual Convention, Moa Kulle (NY)

follows Mileva Loos class on modular origami Gyroscope,
a design partly traditional and partly by Lewis Simon.
Photographer Andrew Cribb dutifully captured the
excitement when Moa began to assemble the pieces
correctly.
Features
The Tessellations by Frank van Kollem by Henk Porck . . . . . . . . . . . . . . . . . 910
Reflections on Frank van Kollems work by Paula Versnick . . . . . . . . . . . . . . . . 11
Un-Creased: A Farewell by Jennifer Hou . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13
He Makes Clock Watchers Out of All of Us
interview by Laura Rozenberg, photos by Barlaham Benitez Vargas . 1517
Zaragoza Convention by Ilan Garibi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18-19
New Location for the Spanish Museum of Paperfolding by Jorge Pardo . . . 19
Paper Beats Iron Bars by Dario Pedurzzi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2223
How to Make a Big Splash with a Festival Origami Tent by John Scully . . . . 24
1953A Year of Wonders by Laura Rozenberg . . . . . . . . . . . . . . . . . . . . . . 2527
1853-1953 One Hundred Years of Relationship between
Japan and the Western World by Laura Rozenberg . . . . . . . . . . . . . . . . . . 27
Special Guest at 2013 OrigamiUSA Annual Convention: Ralf Konrad . . 2829
FROM THE HOME-OFFICE

Letter from the President . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3
2013 OrigamiUSA Annual Convention photos by Andrew Cribb . . . . . . . 45
Origami by Children . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Oversize Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Cranes in a Jar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
Ranana Benjamin and Florence Temko 2013 Awards by Rachel Katz . . . 23
News from the Source . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30-31
Global Events Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32
Diagrams
Crease Pattern Tessellation

by Frank van Kollem (diagrams by Paula Versnick and Eric Gjerde) . . . 12
Tato-Flower Loes Schakel (Diagrams by Kees Schakel) . . . . . . . . . . . . . . . . . . 14
Nonagenarian 2013 OrigamiUSA Convention Crown
by Laura Kruskal (Diagrams by Mrcio Noguchi) . . . . . . . . . . . . . . . . 2021
the Magazine of
OrigamiUSA
(Formerly The Friends of The Origami Center of America)
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The magazine is published by OrigamiUSA
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of paperfolding. Mail editorial material
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The Paper Editorial Staff
Laura Rozenberg, Managing Editor
Lanny Sherwin, Editor
Wendy Zeichner, Advising Editor
Marc Kirschenbaum, Diagram Editor
Gay Merrill Gross, Book Review Editor
Lori Gregory, Local-Area Groups Editor
Tricia Tait, International News Editor
Tony Cheng, Gay Merrill Gross,
Kathy Wallace, Proofreaders
The Paper Committee
Laura Rozenberg (Chair),

Lanny Sherwin, Wendy Zeichner
OrigamiUSA
OrigamiUSA is a volunteer-based not-forprofit tax-exempt, cultural and educational arts
organization founded in 1980. Its mission is
to share the joy and appreciation of
paperfolding, preserve its history, nurture its
growth, bring people together, and encourage
community among paperfolders.
FOUNDERS
Lillian Oppenheimer (18981992)

Alice Gray (19151994)
Michael Shall (19501995)
BOARD OF DIRECTORS
Wendy Zeichner, President

Marc Kirschenbaum,Vice-President
Jean Baden-Gillette, Treasurer
Mrcio Noguchi, Secretary
Lisa Bellan-Boyer
Ruthanne Bessman
Jason Ku
Charlene Morrow
Bernie Peyton
Laura Rozenberg
Jim Weir
OrigamiUSA STAFF
BOOK REVIEWS
Origami for All by Ioana Stoian, reviewed by Sara Adams . . . . . . . . . . . . . . . 30
Sam Riviello, Administrator

Michael and Janet Hamilton, Managers for
The Origami Source
Trevor James, Webmaster
Sarah Meskin, Designer for The Paper
2 The PAPER | Fall 2013
Letter from the President

Dear Members,
What a terrific Convention we had in 2013!
Many thanks to Jan Polish and the Convention Committee for an amazing event. Also
thanks to Robert Lang and the web team
for making a reality of the class preview and
an online Model Menu. And thank you to
the team from North Carolina (Norm Budnitz, Mette Peterson, Judith Powell) who
worked non-stop to photograph the entire
Model Menu. Wow!
We were pleased to have two wonderful guests from EuropeRalf Konrad
from Germany and Jorge Pardo from
Spain. Ralf s tessellations were a delight,
as were Jorges modulars! Plus we had the
chance to learn more about the upcoming
EMOZthe origami museum opening
soon in Zaragoza, Spainfrom the director, Jorge Pardo.
Anyone who was tracking the plans for our
special guests knows that due to problems
with getting visas, we were unable to have
Isa Klein from Brazil and Alexander Oliveras, from Colombia, as special guests. But
that was not a complete showstopper! Isa
Klein was able to be one of our first remote
teachers, via the Internet. Nick Robinson
and Jeremy Shafer also gave classes at the
convention from the UK and California, respectively. We are looking into more video
classes at future Conventions, and hope to
be able to add them to our website.
At the Annual Meeting we held the 2013
elections. We welcome two new Board
Members, Laura Rozenberg (elected) and
Charlene Morrow (appointed) and look
forward to their contributions. After nearly
four years of service to the Board, Anne
LaVin stepped off the Board in May. Robert
Lang chose not to run for another term,
New Board Members
Laura Rozenberg
Charlene Morrow
after eleven years of service to the Board.

Many thanks to both Anne and Robert
for all their service to the Board and to
OrigamiUSA. Both assure us that they will
continue to volunteer to keep the website
humming along.
Thank you to everyone who made possible
the dream of having all issues of The Origamian scanned in and available for sale at
The Source Downloads site, particularly JC
Nolan, Laura Rozenberg, Robert Lang and
Andrew Hudson. We will soon be making PDFs of The Paper available. All issues
back to No. 1 of The Newsletter have been
scanned and will soon be available at The
Source. This is an amazing treasure trove of
diagrams, articles and, mostly important,
our history.
Moving towards the new vision

Directly after the 2013 OrigamiUSA Convention, the Board met for another Retreat
Meeting on June 25 and 26, 2013.
This meeting was an opportunity to continue the work begun at the Board Retreat
in February, 2012. Since that time, we have
made some good progress in changes to
our management structure. I have accepted
the role of Executive Director, and we
have promoted all our committee chairs to
managing directors that sit on an Operating
Committee. This arrangement has allowed
managing directors to report directly
through a shared Google document. It has
also allowed the Board to spend Board
meeting time to discuss our vision and plan
for the future.
At last years retreat, our new vision was
just a glimmer, but now it is coming into
focus. OrigamiUSA can and will take a
leadership role in bringing origami to a
broader audience. To do this, we need to
develop public programs that serve people
outside of our community. The Education
Committee will be developing these programs by focusing on curriculum creation
and teacher training. The goal will be to
develop fundable programs that would be
eligible for grants. This would give us the
resources to get origami into more places
where it can have impact on our societyin school curriculums, in therapy in
hospitals, in engineering designs.

The educational programs will also serve a
greater purpose in our plans. As we create
successfully run programs with incrementally more budget, we will be able to grow
our goals into the larger visionthe big
dream of the Museum and School of Origami. Funders will see that we can provide
results with grant money which will lead
to the bigger funding we will need to build
a Museum.
To get to the big dream, we need more than
money. We need the members of the origami community (whether or not they are
members of OrigamiUSA) to get behind
the new vision. This is really the time when
we need to create the Museum. Many of
the early pioneers of the modern origami
movement are gone. Paper is an ephemeral
material and we need to preserve the works
of art that have been created for exhibitions.
There have been many origami exhibitions,
but there is no centralized home for these
works of art. We need to preserve our history now, while we are still growing. This
can provide the strong foundation we need
for the future.
As paperfolders, we all know the effect that
origami can have on people. We have seen
it in the faces of those we teach and felt it
as we fold. Origami is transformative not
only to the paper, but also to the people
doing the folding. Now is the time to bring
origami beyond our community. Together,
we can make this happen!
Support OrigamiUSA, not just with money
(though we do need that!) but also with
your hearts (real and paper) to make our
dream come true.
Sincerely,
Wendy Zeichner
OrigamiUSA President and Executive Director
August 19, 2013
Fall 2013 | The PAPER 3
OrigamiUSA Annual Convention

June 21-24, 2013
Fashion Institute of Technology, New York
Photos and captions by Andrew Cribb
Two folders learn Pako Pako designed by

Tomoko Fuse and taught by Arlene Gorchov
(PA).
Rachel Katz (NY) teaches The Last Waltz, an

origami design by Neal Elias.
Brandon Zee, Julia Zee, and Vivian Cribb

with models of John Montroll's Knight they
have folded.
OrigamiUSA 2013 Paper Plane Competition. Plane makers compete to fly the farthest distance,
longest time aloft, and the most accurate to a target.
Colorful modular origami designed and

folded by Jorge Pardo (Spain).
Owl on a tree origami designed and folded by

Paul Frasco (NY).
Mette Pederson (NC), origami designer and

folder, teaches a class on how to fold the
modular Foil Ring she is holding.
Saber-Toothed Cat and Mammoth designed

and folded by William Hartman (MA).
Talo Kawasaki (NY) teaches a young folder a

new model.
Bernie Peyton (center) teaches an extra class

on how to fold his Angry Fish origami design.
Nathan Ascher (back center) teaches a complex origami dragon

design by Diego Fernando Becerra Ramirez.
Omri Shavit (center) (MA) teaches a class on how to fold Jason Ku's
complex origami design convertible car.
Laura Kruskal (center) with Lenora Zeitchick(left) and Annette Purnell (right) in a Storigami
class. Find diagrams for Laura's Crown on pages 20-21.
Bubble Head Nurse origami model designed

and folded by Takuya Okamoto (Japan).
Highland Cattle origami designed and

folded by Beth Johnson (MI).
Tristan Saidi (NJ) helps a fellow folder, Jinni Xu

(NY) to fold Robert Lang's origami Hippo.
Origami folder and designer, Aaron Pfitzenmaier (TX) USA holding one of his colorful
modular creations.
Scorpio-snake designed and folded by

Nguyen Hung Cuong (Vietnam).
Origami by Children
Photographs by Mary Gordon
For more than three decades, OrigamiUSA has sponsored Origami

by Children (OBC), an exhibition of outstanding origami by
children from around the world. Children whose origami
is selected for the exhibition receive a Certificate of Merit,
a one-year membership to OrigamiUSA, and a small gift.
Experience is not necessary and any child is welcome to
participate. Most models are made from directions in origami
books available in libraries, bookstores and credited websites, but
original creations are encouraged. During the year the exhibit travels to
communities of various participants, where it is displayed in local schools
and libraries. For more information, go to: www.origamiusa.org/obc.
Sheep (folded by Valentinos Katanoiou)
Modular 8-pointed Star
Sun Fractal
Fiery Dragon
Owl
Snowflake
European Swallow
Jumpy Squirrel
Ring Tailed Lemur
Turtle
Sleipnir
Swan
Facial Tissue Paper Box
Star X
Flower Tower
Omega Star, one-piece
Folded by Lauren Baxter (6) PA, USA

Created by Francisco Caboblanco
Folded by Travis Bender (11) NH, USA
Created by Roman Diaz
Folded by Nathan Boerner (12) OH, USA
Created by Nathan Boerner
Folded by Jesper Brenner (11) MA, USA
Created by Satoshi Kamiya
Folded by Cullen Brown (8) MD, USA
Created by Cullen Brown
Folded by DanaRose Brown (16) NJ, USA

Created by DanaRose Brown
Folded by Wesley Cassidy (12) ON, Canada
Created by Dennis Walker
Folded by Grayson Cliff (11) CA, USA
Folded by Evan Deddo (14) PA, USA
Created by Manuel Sirgo Alvarez
Folded by Ethan DePledge (17) CA, USA
Created by Chris Palmer
Folded by Krishna Girkar (10) CA, USA

Created by Kade Chan
Folded by Henry Hardin (12) MT, USA
Created by Henry Hardin
Folded by Joseph Hwang (15) CA, USA
Created by Joseph Hwang
Folded by Kyle Ikuma (12) NJ, USA
Created by Yada Naokyuki
Folded by Sachi Ikuma (8) NJ, USA
Created by John Montroll
Baby Chameleon
Folded by Blake Derksen (17) CA, USA

Created by Blake Derksen
Eagle
Folded by Jackson Finch (11) CA, USA

Created by Hung Cuong Nguyen
Modular Box Variation Wreath
Folded by Fiona Gillespie (13) NJ, USA

Created by Bennett Arnstein
Tsuru Rose with Baby

Modified Five-and-Four (folded by Kyle Wills)
Folded by Mark Gillespie (16) NJ, USA

Jumpy Squirrel (folded by Nathan Boerner)
Casket box
Caracol
Blue Shark
Kusudama Ball
Cerberus
Harlequin Beetle
Ancient Dragon
Dragon Whelp
Hercule's Beetle
Lizard #2
Modified Five-and-Four
Dead Man's Chest
Crow
Folded by Olesya Mizeznaya (7) Sazatov,

Russia
Created by Tomoko Fuse
Folded by Douglas Morton (15) CT, USA
Folded by SeJin Park (12) Seoul, S. Korea
Flower Tower (folded by Ethan DePledge)
Folded by David Joo (16) VA, USA

Folded by Jennifer Kahn (16) CT, USA
Created by Jeremy Shafer
Penguin
Folded by Mark Karhan (9) NY, USA

Created by Michael Assis
Sheep
Folded by Valentinos Katanoiou (14) Evros,

Greece
Created by Hideo Komatsu
Black & White Pair of Swans
Folded by Emily Kwan (16) NJ, USA

Created by Joseph Wu
Curler Unit Ball
Folded by Rowen Pierick (13) WI, USA

Folded by Jacob Riina (14) MD, USA
Created by Jacob Riina
Folded by James Ross (10) MD, USA
Created by James Ross
Phoenix
Folded by Tristan Saidi (11) NJ, USA

Wings
Folded by Nilay Shah (13) NY, USA

Created by Nilay Shah
See Saw
Folded by Gabriel Sherman (12) NY, USA

Created by Gabriel Sherman
Fusion
Folded by Spencer Leach (9) TX, USA

Created by Herman Van Goubergen
Folded by Krishna Sivakumar (13) NJ, USA

Created by Krishna Sivakumarbased on
Sonobe
Harlequin Cootie Catcher
Mercedes 300SL
Rock'em Sock'em Origami
Star Puff
Unicorn
Tree Frog with Leaf
Sailboat
Fox
Folded by Annie Liu (12) NY, USA

Created by Russell Cash Dollar
Folded by Nathan Lovett-Genovese (13) PA,
USA
Created by Nathan Lovett-Genovese
Folded by Julie Ma (11) MA, USA
Folded by Proma Majumdar (5) LA, USA
Created by Traditional
Folded by Carlos Vilchis (15) Queretaro,

Mexico
Created by Tomoko Fuse
Folded by Haley Welliver (13) WA, USA
Created by Barb Abellaatje
Folded by Tovi Wen (9) NY, USA
Created by Tovi Wen
Folded by August Westphal (6) MI, USA
Created by Paul Frasco
Folded by Kyle Wills (16) OH, USA
Created by Kyle Willsinspired by Eric
Gjerde
Fairy Archer
Folded by Gabriel Winston-Bailey (10) MD,

USA
Created by Gabriel Winston-Bailey
Fire Dragon
Folded by Woosug Yang (16) CA, USA

Created by Kade Chan
Iguana
Folded by Alec Zhang (12) CA, USA

Created by Ben Muller
Logarithmic Spiral
Folded by Evan Zodl (17) NJ, USA

Created by Evan Zodl
Folded by Sam Sleep (15) MO, USA

Created by Sam Sleep
Folded by Abel Sopez Pantoja (18) Qro,
Mexico
Created by Ralf Konrad
Folded by Louis Squitieri (13) WI, USA
Created by Robert Lang/Peter Engel
Folded by Daniel Ventura (10) RI, USA
Owl (folded by Travis Bender)

OVERSIZE COMPETITION
Photos by Susan Dugan
In the Oversize Folding Competition at the OrigamiUSA 2013 Convention, teams of folders
used a 9 x 9 foot piece of photo set paper to create a model in 45 minutes. Teams consisted
of 2-6 people. Younger folders use 6 x 6 foot squares. This year 33 teams participated using
large paper donated by Set Shop.
The Gorans Girls folding the Wave.
Winners awards went to the following team

names: Dark Knight (they folded a Knight
by John Montroll); JOAS (Dragon by
Yada); Dont be so Jelly Fish (Jellyfish);
Mad Hatters (Summer Hat by Monique
Clovers); Make WAY (Duck); Les Plieurs
Canadiens (Yellow Submarine); Tato Belle
(Tato Belle); Origami Ornithologist (Bird);
Six Feet Under (Skeleton Hand by Jeremy
Shafer); Super Team (Superguy); The Fab 4
(Crab by Tovi Wen); Goran's Girls (Wave);
A-nother Team (Pegasus); Team Bacon
(Human Figure); Dazzling Ray (Eagle Ray
by Satoshi Kamiya); Spring Team (Spring
into Action); A Team (Donkey).
Yellow Submarine by Les Plieurs Canadiens.
Teams showing their models to the audience.
The Judges seriously judging the teams.
How many cranes in this jar?

At the 2013 Convention, a jar full of cranes was the object of
much discussion. Board Member, Lisa Bellan-Boyer folded all the
cranes and brought this jar of intrigue as a way to raise money for
OrigamiUSA and provide some entertainment. There were 1,485
cranes in the jar. The winner: Skyler Kleinschmidt with a guess of
1,495. Honorable mentions: Michael Ametrano and Ryda Rose (2nd
place), and Moa from Norway (3rd place). A total of $101 was collected at $1 per guess. The winner received half of the pot! Thanks
to all who contributed with a guess. Sailboats are already being
folded for a new jar to be displayed at Convention 2014!
The Tessellations
by Frank van Kollem
by Henk Porck (Netherlands)*
In the summer of 2003, Eva Wolff
presented a collection of geometrically
folded constructions made by her son
Frank van Kollem as a gift to the Paper
Historical Collection of the Koninklijke
Bibliotheek (Royal Library in The Hague,
The Netherlands). The collection had
been stored in a small brown suitcase
since Frank's death in 1997. It turned out
that this treasure chest contained more
than 100 small folded creations, each in
its own plastic sleeve or several together
in a cigar box. Together they form an
intriguing origami collection, made by
an exceptional individual. Frank was
linguistically gifted and a brilliant mathematician and physicist. His fascination
for mathematical principles led to a series
of unique folded geometric constructions,
each one made from one single sheet of
paper and created with only the aid of
two pairs of pointed tweezers and his own
small fingers.
Initially, many of Frank's diminutive
artworks seem to resemble tiny mats
ingeniously plaited from strips of white
paper, sometimes no bigger than 5x5
centimeters and only a few millimeters
thick. They are in actual fact objects made
from just one sheet of folded paper. The
enormous variation in the regularly recurring patterns of folds (which in most
of the pieces are different on the front
Many tessellations fit in a small cigar box.
and back), the miniscule proportions and

the perfectly consistent execution, down
to the very last detail, arouse amazement
and admiration. Frank's koffertje is a
true treasure chest filled with a profusion
of folded paper art.
There were strong ties between Frank and

his mother, but they didn't get on easily.
Humor proved to be the best way of getting
through to Frank and humor therefore also
typified their relationship. When some of
his friends started calling him Ori because
of his origami objects, his mother said that
she must then be Ma Ori.
Frank had many contacts in the neighborhood close by his house on the Prinsengracht and was always ready to helppreferably at nightin both word and deed
when a problem with computers needed
solving. In 1997, at the age of 47, Frank
passed away in his sleep from cardiac
arrest. People still talk about him in his
local bar de Klepel on the Prinsenstraat
and remember him as a multifaceted and
totally free spirit.
Who was Frank van Kollem? During my

first visit to the home of Eva Wolff on the
Keizersgracht in Amsterdam, she provided me with some answers. From a very
early age Frank appeared to have a feel
for languages and was extremely gifted
mathematically. Because of his precociousness and habit of continually asking
questions, he was considered to a bit of a
nuisance at school, but his math teacher
recognized his genius. Although he did
not complete his secondary education or
receive any other kind of formal instruction, he appeared to have such an exceptional grasp of physics that he was able to
enter into all manner of discussions, on
the most diverse of theories, with Professor Wouthuysen of the Physics Faculty of
the University of Amsterdamthe father
of one of Frank's friends from school.
The Royal Library is extremely grateful

to Eva Wolff for her gift to the Paper
Historical Collection. Her son's origami
constructions will remain at the disposal
of future generations, and can be viewed
and studied by all interested parties visiting the Royal Library. Unfortunately we
must accept that we will never have the
opportunity to make the acquaintance of
the flesh and blood spirit behind these
gems of folded paper, but perhaps if we
take a look through a pair of spectacles
Frank once made from tea strainers, we
may be able to glimpse the world through
his eyes.
*Curator of The Paper History Collection of
the Koninklijke Bibliotheek (Royal Library)
in The Hague.
The photographs for this article were taken by
Paula Versnick with the exception of three as
indicated in the photographs which belong to
the Royal Dutch Library.
Before Frank embarked on his unique

folding exercises, he had always
occupied himself with all sorts of
handicrafts through which he could
express his fascination for mathematical principles. Which explains
the complicated three-dimensional
constructions made from threaded
glass beads of all shapes and sizes,
and his zany earrings.
(Detail)
Apart from his own fingers, Frank

used two pairs of fine tweezers to
create his miniature works of art.
Frank enjoyed showing his creations to others and always had
one or two examples in his pocket.
He kept some colored, fruit-shaped
origami objects in an old sweet
tin and as a joke offered them to
people saying, 'Care for a sweet?
Frank was 16 years old when he began making the confections of

folded paper, after a visit to the Stedelijk Museum in Amsterdam
where an origami artist was giving a demonstration. First of all,
he folded figures following instructions in books on origami but
he very soon developed his own style of mathematical, geometrically folded paper constructions. One uncompleted creation in
the collection demonstrates how Frank built up the structure
of his origami objects from the centre of the sheet of paper in
which he had first folded a fine network of 'guide lines'.
Other examples of his creative abilities are his

crocheted purses in which he created patterns using two different colored button threads to weave
sequences of number and letter combinations.
Several of these extraordinary creations were in
Frank's 'koffertje' and provide an intriguing supplement to the origami pieces.
(Texts by Henk Porck)

Reflections on Frank van Kollems work

by Paula Versnick (Netherlands)
Frank started origami in 1966, and began folding

tessellations not much later. In historic perspective,
it is very plausible that Frank invented this kind of
folding without knowing what was happening on the
other side of the world, in Japan, by Yoshihide Momotani and Shuzo Fujimoto. He invented the famous
wall widely known as a model by Momotani, and
many variations to this model.
Right: Frank van Kollem invented tessellations that resemble those
of Y. Momotami and S. Fujimoto. (Credit: Royal Dutch Library)
But also he created tessellations which are far more intricate.
In the beginning he used regular origami paper in colors,

but his mother said it was better to fold in white. From
then on, all his tessellations are in white. Most of them
are folded from regular size paper i.e., 15 cm (6") square.
He divided the paper in 32 or 64 squares and added all
the diagonals before he started to fold the pattern. To fold
the grid accurately on this tiny scale is an achievement in
itself.
Among the people who went to the Royal Library to see
the collection, were Christine Edison and Eric Gjerde. I
have seen the collection four times now, and every time I
forgot how tiny and amazing his work was. In my memory
it was always bigger than in reality.
Frank van Kollem made a few colored tessellations.

Most were white. (Credit: Royal Dutch Library)
Crease Pattern Tessellation
Complex
by Frank van Kollem, diagrammed by Paula Versnick (Netherlands) and Eric Gjerde (France)
The tessellation completed is 4 cm x 4 cm (1.6"x1.6").
Note by Paula Versnick: Eric Gjerde and I figured out one of the most intricate patterns. It is a tessellation that shrinks 4 times in
size by folding. We managed to make a CP for this, but I didn't manage to fold the complete tessellation. I think Eric could do
it, but not on this tiny scale.
CP Front
CP Back
CP Detail
CP Detail
Un-Creased: A Farewell
By Jennifer Hou, Former Diagram Editor at Creased (NY)
The mission was simple: find unpublished

origami diagrams to share every two
months with enthusiasts of various folding
abilities. From January 2011 to December
2012 Creased Magazine for Paper Folders, a little force of nature, shared with its
subscribers over 150 new origami models
by artists in over 20 different countries.
Helmed from conception to conclusion by
the Creative Director, Sok Song, and Managing Editor, Kathryn Wagner, Creased
was the first independent origami magazine published in the United States.
Creased was available both in print and in
digital format, but any folder worth her
paper cuts gravitated to the impeccably
glossy 8.5" x 8.5" like a moth to the flame.
All 12 issues contained at least one diagram at four different levels of difficulty,
a modular entry, a crease pattern, and a
teachers corner for beginners. The multitude of diagrams in Creased, all neatly
arranged in pastel colors and adorned with
symbols indicating folding instructions,
was laid out with a wandering swish that
lead from step to step, instead of the logical left to right table or grid. The destination was clear, but the journey was the
apex of importance.
Sandwiched in the middle of the magazine, at the inner binding, was a calendar
spread of snapshots from various origami
conventions and events across the world.
The images could be serious or silly, posed
or candid, but despite the differences, they
were placed side-by-side (folding masters
next to awed beginners); a collection that
represented an origami community and
extended family. It was for this audience
that the magazine existed, and it was
sweetly apt that these readers were literally
embraced at the heart of Creased.
Few people could have conceived of such
a publication, and fewer still would have
met the challenge of making it into a
reality. So, no reflection upon Creased is
complete without a nod to the man whose
creative vision and sheer stubbornness
of will made this little gem possible. Sok

Song is the warm ideal of an artist who
serves his art and community. He was
tireless in his pursuit of a goal and incredibly talented, but he was also carefully
generous to involve the assistance and
input of the greater origami community.
The other half of the original Creased staff
was the firm but gentle Kathryn Wagner.
The subscriptions, shipping, logistical and
managerial duties were her domain, and
it must be said that her hard work quietly
confirmed, supported, and liberated Sok
to do his creative work. They were critical
of and critical for each other in the best
meanings of the word. Judging from the
quality of the publication, they made an
undeniably successful team.
that we all share. The act of folding origami is both challenge and simplicity in
each crease; it is an exercise in patience,
logic, problem solving and, more often
than not, time management. The magic
of Creased may seem to lie in its beautiful and thoughtful pages, but I adamantly
believe that what made the magazine
so special was its ability to tap into our
collective human need to build the most
beautiful and ornate from the most plain
and simple.
Creased would certainly not have been

the same without a supporting cast of
characters: testers, writers, designers,
interns, and of course, readers. We were
a collection of so many different kinds of
foldersthe modular fiends, crisp perfectionists, soft impressionists and complex
heroesbut each of us knows that there
is an OCD (origami compulsive disorder)
Tato Flower Loes Schakel (Diagrams by Kees Schakel - Netherlands)
Simple
Barlaham Bentez Vargas:
He Makes Clock Watchers

Out of All of Us
interview by Laura Rozenberg.
Photos by Barlaham Bentez Vargas (Mexico)
Barlaham Bentez Vargas is a lone folder who lives in Mexico. Very
few people in the origami community worldwide knew about him
until a couple of years ago when his rendering of Robert Langs
Black Forest Cuckoo Clockone of the most difficult models of all
timesappeared on Flickr and other social media websites. It was an
outstanding representation, probably the best weve seen after Robert
Langs own design. Intrigued, Laura Rozenberg, the editor of The Paper,
sent him elephant hide paper, which is difficult to find in Mexico, and he set to
work again. After several months, the new modelhis fourth interpretation
was complete. A true work of art! Even Robert Lang was surprised, when he saw
it at the recent OrigamiUSA Annual Convention in New York. In this interview,
Barlaham reflects on this work, the obstacles he found along the process, and his
feelings along the way.
Barlaham, tell us something about
your life. Where you were born and
grew.
My name is Barlaham Bentez Vargas.
I was born and raised in San Luis de la
Paz, a small town in Guanajuato state, in
the center of Mexico. It is a peaceful and
hardly boisterous town. As unpleasant as
it may seem for some people, for someone
like me it is an excellent place because one
can always find new things to do. I lived
and grew here for 29 years, almost 30.
Do you remember the first model you folded? I

was 8 years old when I folded my first one from
a book at school. It was a traditional piggy.
When did you start folding paper?

Did you have any instructor or just
from books? Are there artists in your
family?
I had my first experience with origami
in elementary school, but only started
practicing it more seriously about eight
or nine years ago. With the arrival of the
Internet, the information was just a click
away and that was phenomenal for me.
The way I grew up made me a relatively
tranquil person. I am not the athletic
type, I dont practice sports regularly, so I
believe I was drawn to origami in part for
that reason. I can say I am a self-taught
origamist because when I started I only
had books. I remember one in particular
where I found the first model I learned
to fold. Much to my surprise, even today
relatively few people are aware of the art,
so imagine twenty years ago when the access to information was not as it is today.
I never belonged to an association or
origami group, although I taught to small
groups while I was studying Japanese in
the university.
Although there are no formal artists in

my family, I never stayed away from arts.
My mum, shes very good at knitting and
my dad has been an amateur photographer for most of his life. I would say I
have art in my blood. Since I was a little
child I grew up with classical music and
what would be better than combining
music with paperfolding!
What is your current profession and

how much time are you able to dedicate to folding paper?
I graduated in graphic design (Im still
working towards the degree). For the moment, I am in charge of a family business.
Its not that bad, from time to time I can
work in design and what is more important
to me is that I can work almost full time in
paperfolding.
You are extraordinarily talented. Your

rendering of the Cuckoo Clock by
Robert Lang, and the Ryujin by Satoshi
Kamiya leave people in awe. Recently
you agreed to make a Lang's Cuckoo
when things dont work as you thought. The

relief when you take the right direction. And
the deep satisfaction and awe when the project
is complete.
What were the major challenges?

I wouldn't call them challenges. It was more
like a learning experience.
Taping the two pieces of paper. After cutting
the paper very accurately, the next step was
joining them. From the start, all has to be done
very carefully. Any minimal mistake at the
beginning, will bring disaster at the end.
Using a tool to help precreasing (step 12 in the

diagrams). Sometimes I find it helpful to use
some tools to help me fold or crease the paper.
It makes the pre-creasing easier, especially
when working with large pieces of paper.
for an upcoming exhibition of paperfolding in Uruguay, and I would very

much thank you if you could possibly
describe the process.
to do something different, and then I take

on the old project.
How long did it take, if you had done

the experience before, and what did
you feel doing it?
It took me a long, long time, and that is one
of my secrets. Any project has its own pace,
and I never force myself to reach a model
finished. If at midway I find an obstacle or
I lose patience, I put it aside for a couple of
days so as to clear my mind, and then I continue with no pressure. Usually I dont put
aside paperfolding but there are times when
it is better to move away completely and try
to find a bit of distraction. I play music and
do long walks. If Im not too annoyed with
the project I simply look for a new model,
Until now, I folded four Robert Langs

Cuckoo Clocks. The first three are relatively
similar in technique and style (two of them
can be found on my Flickr account), and
the only difference is that one is larger than
the other two. These first three were folded
using double tissue paper bonded with
spray adhesive. Dry folded and with some
touches of glue and some pieces of wire to
help them keep their shape (I dont mind
purism). The fourth is the one I folded for
the exhibition in Uruguay.
And how does it feel? Its a beautiful range
of emotions. Starting with a doubt: how
am I going to proceed with new material of
which I know nothing about? The anxiety
of the start. The horror and desperation
To begin with, the plan: I knew it would not

be any model, and that I could not take it
lightly, as it was the first relatively complex
model I would fold, and one of the most
remarkable models of all times. Due to the
limitations of resources I could not afford the
luxury of wasting paper (I had to perfectly cut
the original sheets into rectangles and glue
them before I could start folding the model).
I had to do it right from the start to minimize
any error. I knew that I only would have some
time available to fold during the day. (I dont
like to work with artificial lights.) And the
limited space disposable I have to work was a
little issue that I had to think about.
The paper: I always adapted to the paper available. I dont have too many options where I
live, and bringing paper from other countries
is a little expensive, especially if the model gets
spoiled and I lose the investment. I had never
worked with the type of paper I used for the
last interpretation (elephant hide). My first impression was that the paper was not the right
choice for the model because when I started
folding I did a dry fold (without applying the
wet-folding technique). I was horrified by the
way the model looked at that early stage!
Then I applied the wet-folding technique
after I unfolded the whole model and it was
magic! It was the first time I used it and
although its been a while since I finished
the project, I have no words to describe how
I felt. Everything seemed so familiar, from
start to finish. There were no tests, it was like
I had always been using the technique, or as
if instinctively knew what parts needed more
humidity and which ones less. Its hard to
describe the excitement of seeing the piece
taking shape, at least at first try. Im still in
awe for my achievement.
Starting to fold the model. After the pre-creasing, everything is really easy. The diagrams are not
difficult to follow and most of the needed marks are there. You only need patience and a little bit
of practice. Do not rush! Take your time.
A good part of the technique involves knowing the model and the process of folding
because once you dampen the paper you have
to work fast so the paper stays wet until the
end of the folding.
A nightmare. After folding the model dry

and arrived to the head of the deer, I almost
panicked when I saw the paper was too thick
there. But I had to do the wet-folding.
As per this model, I have no particular secrets.

The diagrams are enough to get you going and
to achieve a good reproduction if you use the
wet-folding technique.
Based on my experience, these are my three
rules for a good interpretation:
1) Take your time. It doesnt matter if it will
take you days or months. In the end, the
result will be more satisfactory.
2) Test the model. Fold it over and over again
(if you can). Find what you can improve
and where you can put some of you.
Wet folding. Although the paper should be

wet since the beginning, I folded the model
dry and unfolded completely to fold it again
wet. The model didnt change its shape.
self, show your gratefulness and respect

for the work of the others through your
work and effort.
Is it like interpreting music?

Yes, definitely. You begin playing with the
score and later you apply your style. Same
with the diagrams, once you get to know the
model you can change the order of some steps
or some of the shaping and in the end there
is something from yourself that stays in the
model, be it in the way its been folded or in
the invisible factor called interpretation or
personal touch.
3) Th
e most important rule: your interpretation should be a reflection of your respect
for the work of the creator. Dont take an
interpretation lightly, give the best of your-
Each time is a little different?
Improvising. I dont have sophisticated tools.

I like to improvise. Here using a wooden
compass (very big, the type that is used in
blackboards), to press the head of the deer
while it gets dry.
Magic. It is like magic, or even more, when

applying wet-folding. Seeing how little by
little the model, with this type of paper, went
aliveit is almost supernatural. It went from
nightmare to wonder. I think I will never be
able to explain my state of awe.
things. Very rarely I fold a model only once,

thats another of my secrets. I think only the
creator of the model knows its secrets in depth
and this is something that cant be explained
in a diagram. Thats why I believe that only
by folding a model over and over again it is
possible to unveil the secrets kept in the model
and with time and practice, somehow, the
model takes life.
How do you feel when you finish one of

these masterpieces?
Im always satisfied. On some occasions like
this one, I was really surprised of the achievement. And not only when I finish a model so
complex, it also happens with easier models
that I gave as gifts to people close to me. Once,
not so long ago, I was so happy when I finished a model that I was moved to tears.
What new pieces are you working on

right now or what do you plan to do in
the future?
While I enjoy very much to interpret the work
of creators, I would like to use some time in
creating my own models. Strangely enough I
dont own a personal collection, I only have
small models, so this is one of my short-term
projects: to start my own collection.
It is always different, sometimes you learn

something and sometimes you learn other
The finished model.
Zaragoza Convention
by Ilan Garibi (Israel)
After three Italian Conventions

in a row, I knew I had to break
the spell they have cast upon
me. So, this year it is Spain, I
said. I knew that the first European Origami Congress would
be held a day before and that
the exhibition La Magia Del
Papel(the Magic of Paper)presenting the work of both Eric
Joisel and Le Crimpwould be
up and running. So I had all the
reasons I needed to be in Zaragoza, Spain in late April.
Possibly the oldest origami association,
Grupo Zaragozano de Papiroflexia is
located in Zaragoza. This city is all about
origami. You can see it in the shop windowsa crane or a modular will decorate
many. The people here are very interested
in origami, and for them this Convention
was covered both by local radio and TV
stations.
Being early by a day, I had time to do some
sightseeing at the city center. I was overwhelmed by the Basilica of Our Lady of the
Pilar and many other sites only a walking
distance from the hotel. There are many
hobby shops and many interesting papers
are sold, with and without patterns.
La Magia Del Papel

One example of the citys love for origami
is this exhibition. Set in the Centro De
Historias museum, all floors were dedicated to folded paper. The Crimp group
is presenting Arrugado!, which means
crumple or creased. In a unique folding
technique, they have created an amazing under-the-sea experience, with many
mushrooms, strange fish, and huge sheets
of crumpled paper. Although this was
truly amazing, it was only a warm-up act
for the art of the late Eric Joisel. This is a
retrospective exhibition that shows the
many stages of development Eric went
through. You can see his desktop, and
some diagrams, half made models and a
large variety of his hand work. I stopped

at The Musicians for a very long time
seeing these iconic models for the first
time. I gazed in awe at Legolas (one of the
characters in his series of Barbarians), and
I quote Eric: This is the only model I am
satisfied with, mainly because of the super
elegant way the unfolded paper makes the
cape hanging from his shoulder. You can
also see his huge rhino, masks, bottles,
horse head, his latest work of Comedia
Dellarte, and many more
I finished my tour after some long minutes
gazing at The Standing Man model as I
admired the perfect proportions with the
visible finger prints of his work.
The Convention
With three days, four halls, four guests of
honor, 170 guests from 19 countries and
80 classes on the program, the Convention
promised a great variety of models. Most
of them were figurative, in different level
and techniques, with dry and wet folding.
Some classes were about modulars and just
a pinch of tessellations. The level of folders
was high, and I was surprised to see in my
class first-time tessellators managing the
collapse of my Cubes tessellation without
any explanation from me. The same was
true for the classes that others taught.
Since we were in Spain, the pacing was
common for Europe: some rest after lunch,
andwith the late dinner at 8:30 or even
9:00 pm that went into the late nightthere
wasnt much origami during those hours.
Unlike in Italy, I didn't have any very late
night folding sessions. Moreover, the classes
were not held in the main room, but in
different rooms of the hotel. That left me
with the feeling that I was always missing something. It seemed as though there
wasnt much action in the main room since
most of the participants were in classes in
the other rooms.
The Guests of honor

Four guests of honor is a big number.
Coming from three different continents,
they promised an interesting and exciting

mix of models and niches, and we werent
disappointed!
Victor Coeurjoly, from Madrid, highly
surprised me with his mature style. I must
say it reminded me of the artwork of Dali
with long lines and no-heads figures. His
scope of work is wide, including women,
animals, and stick human figures. I joined
his Giraffe class and enjoyed seeing how
these unique long lines are formed from
quite a regular base. To get that, he uses
extremely thin paper (in our class it was
some kind of a gold-coated foil). So talented, and yet he is only 20 years old!
Carlos Gonzlez, AKA Halle, also from
Madrid, needs very little introduction.
He is a big guy with a big smile and heart,
and you get an immediate feel of friendship and welcoming emanating from him.
His exhibition table was full of delightful,
highly colorful figures of cartoon stars. I
really liked Homer from The Simpsons,
leaning on a beer bottle!
Nicolas Gajardos White Headed Capuchin
Nicolas Gajardo (27) is another young

rising star from Santiago, Chile. His
models are full of expressions with
clever color changes. He explained in the
conference room how he designed the
White-headed Capuchin. Unfortunately, I
missed all his classes, a common problem
when you have that many options at any
given time.
Last but not least, was Takuro Kashiwamura (23), from Tokyo, Japan. Representing
the young group, Orist, he humbly pre-
flash course for T-rex designing from a

napkin. Late at the first night I won the
contest of one-handed-speed-crane-folding but lost the legs-only contest.
Camel by Israeli folder Saadya Sternberg
sented a variety of super complex models,

showing skill and delicacy.
Origami Talks
During breakfast, while I was discussing wildlife issues with Bernie Peyton, h
e
suddenly changed course when a young
Spanish folder joined us. Within seconds
the conversation shifted to how easy
creating models is, and both of us got a
During the last dinner I was fortunate to

have some quality time with the MFPP
president Viviane Berty, when I learned
her newest color-changing flower. With
exhibition tables all around the main
room, the origami is well displayed everywhere. From lamps to earrings, Dassa's
miniatures and Camels, from camel paper
by Saadya, sharks and snakesall made a
delightful view for all who entered.
The Essence of Origami

It's not an easy task to write a review about
a convention. The main issue about a
convention is the atmosphere, the air you
breathe, the sights you see when you step
into a class, the sound of rustling paper, the
smile on the hosts faces, the essence of origami. Here, in Zaragoza, there is definitely a
professional touch. You can see that origami
is a serious business, and it is treated with
respect. And that is a place I would like to
be in, again and again. Hola, Espaa!
First European
Origami Congress
The first European Origami Congress
was held on the morning of the first
Convention day. With participants
from many associations, our task was
to lay the groundwork for pan-European cooperation. There is much in
common between the many groups,
and the idea of synergy began to
take shape. It is too early to present
concrete steps, but for sure there will
be a follow up.
New Location for the Spanish Museum of Paperfolding

by Jorge Pardo (Spain)
Paperfolders from around the world are
waiting for an historic breakthrough that
will take place on December 19, 2013. On
that day, the first museum of origami will
open its doors in Zaragoza, Spain. The
name of the museum is EMOZ (Educational Museum Origami Zaragoza).
The original project underwent several
changes in the last weeks, for example,
the decision to change its location, from
San Vicente de Pal Market to Centro de
Historias de Zaragoza. There were not
enough sponsors to support the renovation of the market, so an alternative
had to be found, one in which the intial
investment would not be so high.
The second level of Centro de Historias
seemed definitely the right place, it is
the same location where two important
origami exhibitions took place in recent
times. The first one, in 2009, with more
than 43,000 visitors, and the most recent
which included the works of the world
reknown French artist, Eric Joisel, that
brought more than 60,000 visitors.
These two exhibitions were the most visited in the whole history of the museum,
an accomplishment that was taken into
consideration to make the final decision.
We believe that it is definitely a much
more convenient location. It has the
advantage of having all that is needed to
organize an exhibition, there is no need
of major changes, and the city already
associates the Centro de Historias with
origami.
idea is to organize temporary exhibitions

with the work of Japanese paperfolders.
Now is the right time to connect with paperfolders all over the world to request their
work for the museum, and we are confident
that we will have the support of most of
them. We look forward to having the pleasure of receiving each and every origami
enthusiast that comes to visit Spain.
Centro de Historias will continue its own

temporary exhibits in the basement, and
two levels will be dedicated exclusively to
origami.
Approximately 500 square meters of exhibition areas, one auditorium for conferences, workshop rooms and a gift shop
with books, paper, models
The 400th anniversary of the beginning of
the relationship between Spain and Japan
will be celebrated with cultural events
until June 2014. The Embassy of Japan in
Spain is interested in the project and the
The future is smiling to Jorge Pardo and the

Spanish group. The museum will be a reality
soon. (Photo by Andrew Cribb during the
Annual Convention in New York, where Jorge
was a special guest).
Nonagenarian 2013 OrigamiUSA

Convention Crown
Created by Laura Kruskal (age 90), diagrams by Mrcio Noguchi
simple
Paper Beats
IRON BARS
by Dario Pedruzzi (Italy)
My name is D'ario Pedruzzi, I'm Italian

and have been into origami since the age of
17. I've experimented with origami in a few
unique situations and had some interesting
experiences that I'd like to share. Hopefully, I can infect others with what I call
the O3A virus: Origami Anywhere, with
Anybody, folding Anything!
It has been seven years, but feels like it was
a lifetime ago. In 2006 an acquaintance told
me about an association called Children
Without Bars," which is responsible for
coordinating volunteers who work in the
prison of San Vittore, Milan. Its goal is to
promote the parental relationships between
adults in jail and their children.
When asked to help using origami as a
tool, I accepted willingly. I was curious to
try origami art in those places and in those
contexts where you don't expect it. I hoped
that origami, used as a medium of relationship-building, would open some doors
and provide some insights among those
incarcerated and their children.
I taught origami for the children who were
waiting for visitation periods with their
parent. We were in a small room in which
the children could find pencils,
felt-tip pens, and something to draw on,
something to play with, someone to chat

with, someone to play with, andin my
casesomething to fold. I am convinced
that when people live in a situation of distress such as prison, they learn to appreciate even the very smallest gestures, the
simplest smile. (Italian law dictates that
children can only get to see their imprisoned parent for up to 6 hours per month.)
What better way than the little gestures of
origami to create simple smiles and little
surprises at every step?
And origami, for me, has a couple of good
features that helped me a lot. First, it's the
thing I do best, so I feel confident and
comfortable in teaching. This is important
becauseunlike drawing, coloring, playing
with toy cars or with puppetsin teaching
origami it is necessary to establish a relationship. This relationship is critical so that
we aren't two anonymous faces, but two
individuals who share something.
Upon entering I'm rapidly surrounded
by all sorts of children, aged 3 to 15, from
Gypsies to Chinese, from Moroccan to Russian, through all continents. Many of them
don't speak Italian, so others translate for
their parents. Some will never speak to me,
some talk too much, others just smile at me
with a look full of gratitude.
While we begin the long wait in the visitation room, we begin with
the usual paper toys:
jumping frogs,
jumping grasshoppers, bangers,
boxes, airplanes, and
all of those things rotating,
Dario Pedruzzi sporting a Tori 555 on display

at the CDO Italian Convention on Education,
Bellaria, Italy (April 2013). (Design by Tom Hull,
folded by Roberto Mancini).
mouth-opening, tumbling, rolling, flying,

gliding, that make paperfolding with children so amusing, so magical.
We had great success with the Lucky Stars,
or Sleeping Stars designs. To illustrate a
story of fairies, an origami star becomes an
indispensable amulet, as well as a token of
friendship between me and those children.
Then, that same object makes a cherished
gift for the imprisoned father when the long
wait is finally over.
Another magical element inside any origami workshopbut especially so among the
children of San Vittore prisonis the total
absence of competition and aggression. The
competition is demolished by a sheet of
paper! There were no quarrels for models,
nor for the choice of colors of paper, nor
The grasshopper, a beginners model that Dario taught at San Vittore prison.
During the April Convention in Bellaria, D'ario

Pedruzzi gave a lecture where he explained
how he uses paperfolding with patients with
AIDS, autism, and with children of inmates.
This slide, from his lecture, reads: San Vittore
Prision: Small place where children can design,
interact with volunteers, among them clown
and, in my case, a paperfolder. It is difficult to
reach out to adults, but it remains an important goal as it would improve the tranquility
of the environment.
were there any remarks like your model

sucks among the children. Less competition equals to less aggressiveness.
I always stress that in origami, we dont
produce objects, we make objects. This
substantial difference in approach leads us
to consider each model made by each child
as an icon of the moment, the instant which
we are living in that moment of space/
time. All models are beautifully folded just
Another model very popular among the children of inmates, and also adults.
because they are ours, not anyone elses. The

patience, accuracy, precision, dexterity were
not by anyone else, and it follows that the
folded model is gorgeous because this child
has gorgeously created it.
The challenge of precision and accuracy
that everyone is encouraged to have makes
the atmosphere quite intimate. Unlike
many typical school situations of talking
heads, here I'm surrounded by children sitting on the ground, all eyes on me. Perhaps
a familiarity with the traditional circletime archetype and energy circles helps
to create an unspoken mutual understanding. And it's encouraging to experience how
the different teaching models flow together.
I particularly like this interpretation of

origami as fluid path. It represents both the
finished object and the process of making it
just because inseparable, they can't be analyzed separately. When we fold origami, the
entire individual is involved in a dual synthesis of body and mind. Anyone who has
tried it knows that when you fold a pleasant
model that you have mastered, breathing
starts to slow down and the mind begins to
cheer. All my effort is oriented to translate
that marvelous feeling into the workshop
and into the hearts of those children.
I'd like to end with this thought: not every
model is a winning model, and not every
time is a good time. But who cares? I put
my focus into the process, adapting it to
each child's ability, cognitive level and age.
I give my knowledgehopefully with an
amusing touchwith sincere smiles and
with an open heart. Origami does the rest.
During a time of stress, fear, suspicion, and
anger, origami is a key for putting sincere
smiles on even the most closed-off faces.
Even for the San Vittore prison's children,
origami provides a transcendent time of
creativity, togetherness, and peace.
Ranana Benjamin and Florence Temko 2013 Awards

by Rachel Katz (NY), photos by Andrew Cribb (NY)
This year, the Ranana G. Benjamin

Teaching Award
went to a creator
as well as a teacher
who got communities involved in
creating origami
replicas of iconic
Jeanine Mosley
buildings. You
probably realize I'm referring to the brilliant creator of clever action modulars
Jeanine Mosely(MA). She found a way to
morph her Menger Sponge into projects
that involve hundreds of childrenparticularly inner city ones. The pride they took in
seeing the finished product and knowing
they'd been a part of it is indeed wonderful. During a project at the University of
Southern California, she got students in all
disciplines involved creating her Snowflake
Sponge. Drama students worked alongside

math students and many others to create a
memorable experience. Using her techniques, Jeanine inspired Rob Ribaudo (NY)
to create a beautiful origami model of The
Wang Center at Stony Brook University. It
was first displayed at Origami Heaven Fold
Fest and the University has displayed it on
several momentous occasions.
Michael Schneider
Michael Schneider
is the recipient
of the Florence
Temko Lone
Folder Award. Michael comes from
a small town in
Wisconsin and has
had a passion for
origami for years.
He is the young-
est recipient of the award to date. Focusing

on compressible box pleating, Michael is
studying the individual forces a fold makes
to paper that affects the model's final shape.
He's hoping to find real world applications
for this. Michael will be attending college
in the fall studying Material Science. We're
glad that Ruthanne Bessman (WI) found
this talented young man and will be anxious to see what he discovers. The Michael
Shall Volunteer Recognition Award went
this year to Ros Joyce (NY) for extraordinary service to OrigamiUSA.
The committee is comprised of: Ruthanne
Bessman (WI), Judy Hall (FL), Penny Sing
(NJ), Joel Stern (CA) and Rachel Katz
(NY) We will accept nominations for these
awards until May 1st of 2014. Please see the
OrigamiUSA website for more information.
How to Make a Big Spash with a Festival Origami Tent

by John Scully (OH)
For the past three years, the
members of Ohio Paper Folders have been running origami
tents at two local eventsthe
Columbus Asian Festival and
the Greater Columbus Arts Festival. Approximately half of our
80 members found us through
these events, plus we have
added dozens of convention
attendees, had several small
TV spots, connected with many
schools and organizations, so
these have been a major factor
in our growth.
At the Asian festival we teach hundreds
of people a basic model in one weekend,
and interact with literally thousands more.
They are drawn to us through a large
display case full of origami, an eight foot
banner and this year a colorful origami
flag on a 20' flag pole.
If your group is planning to participate in
one of these events, check your area for
arts festivals, state fairs or Asian festivals.
Then, do your best to get them to give you
a free or discounted tent. Now that we are
in our third year, the Asian festival gave us
a 10'x20' tent in the sponsor area for the
price of a 10'x10' vendor tenti.e., we paid
$600 for a tent that others paid $2,000,
because they see us as a huge draw. Other
events give us space for free.
But NEVER, NEVER, NEVER let them
put you in the childrens activity area.
That means 4 and 5 year olds, and guarantees youll hear over and over: Can you
teach little Suzie to fold a crane please?
Planning for the event:

Start organizing four or five months in
advance.
Watch Craigslist for cheap/free display
cases. Post a wanted ad on Craigslist.
Try for a five or six foot display case,
preferably with locking doors.
Have pre-planned models to teach

(Never say What do you want to learn?
they will answer, Can you teach me to
fold that complex dragon in the case?).
We selected six modular and four nonmodular models to teachhalf really
simple and the rest just a bit more complex. Chinese wheel, Eifel star, fleximasu,
simple butterfly, a crown, etc.
Find someone with decent graphics skills
and design a full color bannerwe get
an 8'x2' full color outdoor vinyl banner
from Bannerbuzz.com for $43.00. We
also got a vertical 5'x1' flag banner from
them for $26.00. I made supports for the
8' banner from inch conduit, eyebolts
and U-bolts to clamp them to the tent
poles. The telescoping 20' flag pole is $49
at harbor freight.
If possible, also create a brochure to
hand out to people at the event. Our
brochure talks about both our convention and our other activities, driving
home the fact that we will teach origami
in schools, homeless shelters, hospitals,
etc. We get full color tri-fold brochures,
full bleed glossy stock printed at gotprint.com for $249 for 5,000. (We go
through a lot of them.)
Be sure to have a good range of items
for the display casewe have modulars,
boxes, tessellations, traditional, supercomplex, about 20 money folds, etc. You
watch people walking by, glance over and
stop dead and stare, then come over for
a closer look. The display case is the real
attention getter.
Try to have a lot of people available to
teach. Depending on the event, we have
had anywhere from two to ten people
teaching at one time.
Always have someone free to stand at
the display case and engage people.
They come up to lookyou chat, hand
them a brochure, ask them if they want
to sit down and learn to fold something
Consider using cheap, heavyweight

paper, especially for the modular models.
We purchase reams of Astrobrights colored printer paper at Officemax and have
them cut to 8 inch and 5 squares on
their big cutter. This year we purchased
24 reams, half cut to each size.
Finally, have some donation jars, and
consider putting together origami kits
to give away in exchange for donations.
This year we covered the total cost for
both festivals (including the 24 reams
of paper) through these donations. We
used designs in the public domain and
others with permission of the designers.
We put paper, the diagram and a sample
module for two different designs into a
gallon baggie. Total cost to usaround
$0.60 per kit. We offer them for a $5.00
donation, and we brought in about $900.
Sowe had to invest about $850 in the
festivals, brought in $900 and ended up
teaching hundreds of people, adding
many members and were mentioned in
newspaper articles, TV news spots and
more. All at a net cost of zeroif you ignore the hundred plus hours of planning
and prep by our members.
We built up to all this over three years,
starting with a small display case and a
10'x10' tent to a much larger presence now.
As a final note, I have MS publisher
templates for banners, origami flags, brochures, postcards, etc. I would be happy to
make them available to anyone who can
use them, or even help customize them for
your use.
John Scully, jscully@ohiopaperfolders.com
60 years ago
1953A Year of Wonders

by Laura Rozenberg (NY)
Lillian Oppenheimer did not start her career in paperfolding until she was well
into her 50s. Learning how to fold the flapping bird was a revelation to her.
It happened in 1953, a year that brought other luminaries into paperfolding as well.
(Photo courtesy by the Archives of OrigamiUSA. Photo by M. Edelstein, undated. Origami outlines and montage: Masao, 2012)
The OrigamiUSA Board Meeting was well under way on June 25 this year when someone dropped, almost absent-mindedly, an intriguing question: Do we have any origami anniversaries this year? Well," I replied. As a matter of fact, we do. And more
than one," I beamed.
I guess no one was expecting to hear something so conclusive. What?," Wendy Zeichner said holding back a smile.
True! Just 60 years ago, the year of 1953 was a remarkable year. David Lister, the British origami historian who recently passed away, made the interesting observation." All
the eyes were fixed on me. I had caught their attention.
Unfortunately we didnt have much time to go into the details, so I made a mental
note to write about these facts later. Lister was rightthe year of 1953 had been an
Annus Mirabilis (Year of Wonders) for the history of paper folding and the reasons why
are worth telling.
1. Lillian Oppenheimer: the
awakening of a passion
In 1953, Lillian was 55 years old and
already a grandmother. Not that she had
in mind to start a new career in her life!
She had had a taste of paperfolding some
twenty years before while she was raising
her children, especially when one of her
daughters, Molly, was sick with meningitis.
Lillian had purchased a book to entertain
her while she stayed in the hospital. The
book had an explanation on how to fold
a flapping bird; but the diagrams seemed
too complicated, and the legend goes that
at that time she never finished the model
(another version of the story goes that Lil-
lian didnt realize there was a flapping bird

in that book, so she actually didnt fold it
because she didnt see it!)
It would take Lillian almost 20 years to get
back to that bird! One evening, during a
family party, Lillian glanced a manLaura
Kruskals stepfatherwho was at the
back of the room folding a flapping bird.
Intrigued, she approached, but the man
mumbled something about not knowing
how to teach the folding, so Lillian left
sad and empty-handed. Then, in 1953,
Emily Rosenthal, a teacher at the New
School of Social Research in New York,
finally taught Lillian how to do it right.* It
definitely was a turning point in Lillians
life. It was such a great feeling of accomplishment and it was so much fun that she
promised herself she would try to teach it
to as many people as possible, whenever
she could and wherever she went. And
thats what she did. She dedicated the rest
of her long life to the art of paperfolding.
2. Gershon Legman discovers Akira Yoshizawa

Gershon Legman teaching how to fold a flapping bird to children attending a workshop
during the first exhibition of Akira Yoshizawa
at the Stedelijk Museum in Amsterdam (1953).
(Photo courtesy of Judith Legman.)
Not far from Lillians home, in the Bronx

to be more exact, a man named Gershon
Legman was also discovering origami
and finding that it was a fascinating, but
hardly explored field. He was a scholar of
popular culture and also a bibliographer,

so he decided to apply his knowledge to an
area ingeniously creative and surprisingly
underestimated by those who considered
it a mere children's pastime. He began
to compile a list of books on the subject
from around the world in order to learn
as much as possible about its origins and
techniques. Although the information was
scattered and often inaccurate, he started
drafting a history of paperfolding employing the myriad of data that even today is
hard to believe he was able to gather.
For his more simple, straightforward project of a bibliographical list, Legman sent
literally hundreds of letters to libraries,
scholars, booksellers and trading companies requesting information on vintage
and new books on origami. By 1952, he
self-published the first and most comprehensive bibliography on paperfolding with
more than 300 entries. He sold the 8-page
leaflet right from his home-based mail
business at 8 cents a piece.
But Legman was dangerously approaching
a crossroads in his life, too. Having studied
topics that were considered immoral at
that time (his interests ranged from bawdy
words to dirty jokes to criticism on what
he called a replacement of sexual content
with violence in the media), and because
he was openly against censorship, he
*There is another version brought up by Gay Merrill Gross that dates 1952 the year when Lillian Oppenheimer learned how to fold the flapping bird.
ended up being the target of regulatory

entities to the extent that the FBI went
after him (or so he thought). These were
the years of McCarthyism in America, so
the threats he received were not a joke.
When it became evident that he could end
up in jail, he decided it would be in his
best interest to move to France, where he
stayed for the rest of his life.
These strands were initially

separate but it was their
eventual coming together that
brought about the revolution
in paperfolding, not only in
Europe, but in much of the
world. -David Lister
The stress during the months before his
self-exile didn't stop Legman from working
as hard as usual. He continued doing research on his main topics of interest as well
as on paperfolding. He was not associated
with any formal institution, so technically
it was the work of an amateur, but one of
an extremely talented mind. After years of
research, he pinpointed the major centers
for paperfolding creativity (Japan, Spain
and Argentina). He was eagerly looking
for more clues from Japan and was trying
to find an elusive part of an encyclopedia

called Kan-no-mado. His efforts led him
to a startling finding that would change
forever the way paperfolding was regarded
in the West.
And what he found was a man.
In 1953, he learned for the first time about
the existence of an extraordinarily talented
paperfolder. The master was living in
Japan and his name was Akira Yoshizawa.
It took Legman several months before
they started a fruitful correspondence,
which led, a few years later, to the opening
of the first exhibition of Mr. Yoshizawas
work in the Western world. The exhibition took place in Amsterdam in 1955, at
the Museum of Modern Art (the Stedjelik
Museum). How Legman and Yoshizawa
got to know each other is a long and fascinating story worth another article, so right
now I wont go further than stressing the
importance of that year, 1953, when a man
in Europe reached out for an obscure and
poor master in Japan.
3. A British magician and a

reclusive woman join the club
1953 was also a wonder year for Robert
Harbin, the British magician, whose books
on origami were used by generations of
paperfolders all over the world. According

to David Lister, Harbin became acquainted
with Gershon Legman due to a most fortuitous event. An American film producer
living in England, Cy Enfield, was looking
for a magician to play a part in a movie. The
role was finally given to Harbin, and it is
said that when Enfield saw Harbin folding
paper during a break, his mind clicked and
he remembered his old classmate in New
Jerseyno other than Gershon Legman.
So in 1953 thanks to Enfield and his good
memory, Harbin became connected with
Legman, and years of fruitful correspondence followed.
Thats not enough for 1953 to be the year
where it all started. Gershon Legman also
contacted Ligia Montoya in that year, a
reclusive paperfolder living in Argentina
with whom he kept corresponding until her
untimely death in 1967.
And David Lister himself said that his own
interest in paperfolding took off in 1953,
when he learned to fold the Chinese Junk.
One could argue why that happened. Coincidence seemed to have taken charge,"
said Lister. But also the field was becoming
ripe for a change.
1853-1953 One hundred years of relationship

between Japan and the Western World
by L.R. Gershon Legman knew how to write seductive letters. But on January 20, 1953, when he sat to write a letter to
the editor of Asahi Shinbun, the most prominent newspaper
of Japan, he just wanted to please him. And he pitched on a
perfect excuse. He realized that 1953 was a year of enormous
significance for both Japan and the West. It represented the
100th anniversary of the opening of commerce between Japan
and the West! So he set to write: My interest stems from an
international study of Japanese and Hispanic paper-folding
(origami) which I have been attempting to compile over the
last few years for publication in the British Journal of Occasional
Bibliography, to commemoratein a small and folkloristic
waythe centenary of the opening of your country to intercourse with the West in 1853.
Was that his real purpose? Probably not. But he got what he
wanted: an orientation on Japanese origami books, and, if not
enough, a hint that would lead him shortly to the discovery of
the man who changed origami forever: Akira Yoshizawa.
Excerpt of the letter that G. Legman sent to the Asahi Shinbun

on Jan 20, 1953. (Letter courtesy of L.R. collection of archival
documents).
Special Guest at 2013 OrigamiUSA Annual Convention
Ralf Konrad
Ralf Konrad was born in Brandenburg,
Germany in 1960. Origami fascinated him
from childhood, but a visit to an origami
exhibition in Paris in 1993 turned out to
be a decisive event for his origami career.
Later a search for a creative gift landed
him on the webpage of beautiful gift boxes
designed by Tomoko Fuse. This was the
beginning of a wonderful journey in the
realms of origami.
Over those years he attended many national
and international conventions, met many
origami artists and exchanged ideas. Paul
Jackson's ideas and experience influenced
his development significantly, as did the
work of Alex Bateman. Soon he was one of
the first tessellation folders and creators in

Germany, and has created many models of
his own, folding some of them in miniature.
In December 2006 he was invited to the
Italian convention where he met Eric
Gjerde, who included Ralf 's work and
his Star Puff model in his book. Ralf is
a well-published origami artist with his
models and diagrams finding space in
many national and international journals
and books. He published his own booklet
named Cussinus Sterne in 2011 in Germany.
He is also a proud exhibitor in The Art
and Science of Origami, an exhibition
organized by the Jaffe Center for Book Arts,
Florida Atlantic University Library in USA
in 20122013. Presently, apart from being

a computer administrator, Ralf is occupied
with his new book on modular tessellation
techniques. The following are some of his
fantastic tessellations, explained by himself.
The Paper asked Ralf if he could send us
some examples of his work, along with a
brief commentary on each. Out of his many
designsflowers, boxes, stars, animals,
geometric modelswe chose to show his
amazing nano-tessellations, a technique
in which he excels. It is also an interesting
dialog with Frank van Kollem's tessellations
featured in this issue (pages 9-12).
Nano Cube Star Tessellation 2518
Orden Tessellation 3420
This is my smallest tessellation. In 2008 Joel Cooper posted a

tessellation picture which was as big as a thumbnail on Flickr and
sparked a competition. The Nano Cube Star was my entry in this
unofficial competition. The material used is 34g windows glassine.
I started with a 45 x 52.5mm rectangle in which I folded a 32 Grid.
The distance between two folds is 1.4 mm. To protect it I kept it in
a passport picture frame.
This is another nano cube star tessellation, with a larger nano

cube. I started in the middle with a hexagon consisting of six
twist folds. I folded five rings consisting of twist folds around
this hexagon. Finally I opened all the twist folds to obtain a cube
effect. The material used is 34g windows glassine. I started with a
rectangle of 13 x 15cm in which I folded a 64 Grid. The distance
between two folds is 2mm.
Sweet Heart 3476
Hexagon Flagstone 3410
This is a nano sweetheart tessellation folded from dark yellow silkworm glassine 40g. The starting rectangle was 13 x15 cm in which I
folded a 64 Grid. The distance between two folds is 2 mm. It is very
important to fold precisely so as to get a good result in the end and
also the tessellation will look accurate.
This is a nano flagstone designed by Joel Cooper and folded by me.

On the front side are the hexagonal tiles and on the back side are
the twist folds. The tile pattern on the front side depends upon the
differential arrangement of the twist folds on the back side. The material used is Carape, which is a wafer thin, solid-colored, soft tissue
paper of about 20g to 25g. In a rectangle of size 65 x 80 mm I have
folded a 32 Grid and then I cut out a hexagon. The distance between
two folds is 2 mm.
Tessellation 5751
Magic Cube Tessellation 3416
This is my latest tessellation. I folded it for the 25th German Origami I can call this work as my masterpiece. I folded it from 40g silkworm
convention held in Weimar 2013. It is made from 40g silkworm
glassine. The starting rectangle was 64 x 75 cm in which I folded a
glassine, 64 Grid and distance between two folds is 2mm.
128 Grid. It took many weeks to fold this Grid and further many
more days to arrange all the twist folds. The distance between two
folds is 5 mm. This is one of my most beautiful tessellations.
Book reviews
Origami for All
by Ioana Stoian
Review by Sara Adams
(Germany)
80 pages, paperback
Simple to Intermediate
$17.50
First impressions count. And this little book definitely got full
marks from me. Ill talk about the designs later, but what made
me fall in love with this book started with a different aspect
entirely. Its the love of detail put into this publication that made
me fall in love with it: the great paper quality; that they added
a joint (a score line by the back of the book to ease opening the
book); their minimalistic presentation, which also allowed them
to provide the accompanying texts in five languages: English,
French, Spanish, German, and Japanese; that understated,
beautiful cover featuring a line drawing of Ioanas penguin design.
But of course you shouldnt judge a book by its cover. Well, let
me tell you the contents live up to the high expectations I had.
Unusually for me, I started with the first design, and folded all
sixteen models in the order presented in the book. Each fold was
such a pleasure that I didn't want to skip any of the models to skip
to that one favorite model I often identify with other books.
True to its subtitle the designs are simple and elegant. Each piece
is truly beautiful. The diagrams are very clear, Eric Gjerde did
a wonderful job presenting Ioana Stoian's original designs. No
explanatory text accompanies the step diagrams, and there is no
needa testimony to the quality of the diagrams.
In that, I think it is a book that is highly suitable for beginners,
as well as all origami lovers with an affinity for elegant and
minimalistic models. Some models remind me of traditional
designs, which often have that same feel to them. I'd say you can
fold these models in two ways: first, as a simple, quick fold, which
works from just about any paper you have at hand; or second,
with carefully selected paper to make the true beauty of these
simple folds speak clearly, but yet in a soothing voice of serenity.
You can view a full table of contents on origamiforall.com. It
features photos of each design, which may better show what I
tried to express in words. Maria Sinayskaya from goorigami.com
nicely displays how Ioana Stoian's designs blossom when folded
from complementing paper. Check out her Flickr stream at
flickr.com/photos/goorigami/ for some great examples.
The accompanying site to the book, origamiforall.com, also
features some sample diagrams, namely for the heart, the fish, and
the only model that requires some cuts, the bat. Two instructional
videos are also available at youtu.be/OkgJs0ZCK5M (Bracelet,
video by Sara Adams) and youtu.be/l424loZVhXQ (Pengiun,
video by Leyla Torres).
Additionally, various sources for buying the book are listed on
origamiforall.com/buywhich includes online stores in Europe,
USA, and Japan. You can also purchase directly from The Source.
I'd like to end this review by adding an excerpt from an email
reply I received from Ioana after I congratulated her and Eric on
the fantastic book they had put together.
Origami for All is meant to look and feel like a school book from
the 50s-60s. It is to be used and abused, put in a bag, taken on the
bus, shared with friends and family. It's not a book that's supposed
to spend its life on a dusty bookshelf!
To this I can only say: If school books of the 50s and 60s looked
like Origami for All, then those were beautiful books indeed!
And I will be sure to help make Ioana's wish come true, and take
Origami for All with me on many occasions. With the enchanting
simplicity of her designs, I am sure to delight my fellow folding
friends, as well as introduce novice folders to the wonderful world
of origami with ease.
news from
the source
The Source ran an online survey recently to get a better idea of the kinds of
origami books and papers that OrigamiUSA members were interested in.
We learned that members felt we had a good mix of books and paper, that
there was interest in more foreign and hard-to-find books, and we got some
help in picking the colors for the new large Tant sheets that we now have
available. Thanks to everyone who took the time to fill out the survey!
Take a look through the new products below and you will see that we took
the suggestions to heart. There are many new books from talented overseas
authors, as well as unusual books from closer to home. We have brought in
special origami paper from Austria and Germany, as well as the aforementioned large Tant sheets from Japan. There are also custom made 20-color
Tant packages with colors similar to our Kami assortments.
Keep checking the website for more exciting products in the future. Subscribe to the OrigamiUSA members email list, follow us on Twitter, or watch
the OrigamiUSA facebook page for updates as well.
New Papers
ORIGAMI STARS KIT
3" squares, 210 sheets | P03-7833 | $12.00
CHIYO SAKURA
3" squares, 210 sheets | P03-7833 | $5.75
KALEIDOSCOPE DUO WINTER MIX
4" squares, 48 sheets | P04-0064 | $10.50
New Books
Members receive a discount. Check the
website for the complete list of prices.
ORIGAMI IN ORDINE SPARSO
Author: Carboni
16 original models, including a monkey, pig, marmot, elephant, carp,
walrus, raven, angel, devil, a full set
of chess pieces (pawn, rook, bishop,
knight, queen and king), and the 95-step complex
dragon pictured on the cover. Information about each
model is included, diagrams are clear and detailed.
TOILET PAPER ORIGAMI ON A ROLL

Author: Wright
32 more ways to decorate your toilet paper rolls.
Some designs are for use on the roll and some to
decorate the spare roll waiting on the shelf. Designs
include tulip, swimming swan, lovely heart, celebration cake, palm tree, pretty posy, candlestick, ship
ahoy, pumpkin, reindeer, shooting star, tropical fish,
and more. Black and white photo diagrams with
overlaid crease lines, clear text descriptions for every
step.
112 pp. | PB. (S-I) #B13-123 | $14.95
THREE & TWENTY

BIVALVE MOLLUSKS:
PAPER FOLDING
Author: Orndorff
In Italian. 90 pp. PB. (I-C) #B13-118 | $24.95
MODULANDIA
Author: Dray
15 original modular kusudama balls, stars, flowers,
and wreaths by Enrica Dray. Two of the models are
unusual creations using strips of paper to create stars
with and without a center hole. There are several variations pictured as well as an airy Christmas Tree formed
from the strip stars. Models include Luna, Clok, Fior
Da, Aurora, Rondo, Trilly, Strisce a stelle, and more.
In Italian. 64 pp. | PB. (I) #B13-119 | $17.50
BEAUTIFUL ORIGAMI BOXES
Author: Fuse
An amazing variety of boxes in one book. There are
single sheet boxes, modular boxes, and boxes with
sloped sides. The box tops have unique facets, petal
shapes, and windows. Box shapes include square,
rectangular, triangular, hexagonal, trapezoidal, and
octagonal. Included are unique inserts and dividers
for the boxes. Colored diagrams aid assembly of the
modular boxes. Gorgeous color photos for inspiration and exceptionally clear diagrams.
In Japanese. 98 pp. | (I) #B13-121 | $21.00
MICHAEL LAFOSSES ORIGAMI BUTTERFLIES

Author: LaFosse & Alexander
A beautiful full-color, full-sized
book of butterflies. The book
starts with several interesting
articles on the authors, paper
selection, uses for folded models, and Michael LaFosses butterfly design system.
There are models for 26 exquisite butterflies, several
of them published for the first time. Each model is
folded from a single, uncut square, and includes a
short paragraph and a haiku about the person the
butterfly is named after. Included are two DVDs
showing Michael teaching every model and demonstrating wet-folding techniques. Clear diagrams with
text explanations and full-color photos of finished
models, mostly folded from duo papers, but some
photos show butterflies folded from candy wrappers,
currency, mosaic foil, and hand-made papers.
112 pp. Includes 2 DVDs | (I) #B13-122 | $19.95
Lots of shells (cockle, oyster,

mussel, scallop, clam,
quahog, etc.) done in a
unique style that is related
to troublewit folding, pleating, and corrugations. About half the models have
grayscale step diagrams with helpful text explanations, half are crease patterns with photographs. A
model for the Linnaeus seed envelope is included at
the end. Printed on acid-free paper. The author was
the special guest at Origami Columbia 2012 where
this book was launched.
106 pp. | PB. (LI-HI) #B13-124 | $15.00
ORIGAMI FOR ALL

Author: Stoian
Subtitle: Elegant Designs from Simple Folds. Book
contains 16 original designs. Introduction and
folding symbols explained in 5 languages (English,
French, Spanish, German, and Japanese); clear
origami diagrams are presented without explanatory
text. Models include Name Holder, Heart, Two-Part
Box, Envelope, Bracelet, Penguin, Sitting Monk,
Flower, Christmas Tree, and more.
80 pp. | PB (S-I) #B13-125 | $17.50
METTE UNITS 8
Author: Pederson
This long-awaited sequel includes 10 new modular
stars, rings, and a box, plus some additional variations. Models include Flower Star, Marunokoboshi,
Foil Ring, Flowerburst (an action model), Bande
blomst, Festival Flowers, and more. Clear grayscale
diagrams with full-color assembly instructions and
text descriptions on each step.
30 pp. | PB. (I) #B13-126 | $12.00
ORIGAMI BIRDS
Author: Montroll
34 origami birds from Anhinga to Woodpecker.
All models are folded from a single square of uncut
paper, with attention paid to the unique features and
characteristics of each bird such as the Roosters tail,
the Owls eyes, the Turkeys wattle, and the Flamingos

long legs. Included are some more unusual avian
subjects, such as the Crowned Crane, Hoopoe, Sacred
Ibis, Quail, and Roadrunner. Each model includes
interesting facts on the real-life bird. Many models
are new, some have been published in earlier books.
Color photos and color diagrams with helpful text
descriptions.
128 pp. | PB. (I-C) #B13-127 | $19.95
HORSES IN ORIGAMI
Author: Montroll
26 wonderful horse-themed models from John
Montroll and an international group of contributors. Models range from mythical (Pegasus, Unicorn,
Centaur) to useful (Horse Bookmark and Pop-Up
Horse Card) to various horse breeds (Quarter Horse,
Clydesdale, Mustang, Lippizzan). There are easier
models (Stick Horse, Simple Pony, Ponytail Pony)
and more complex models, such as a Painted Horse
that uses both sides of the paper to achieve the color
effect, and a horse and rider from a single sheet. All
models are folded from one square sheet of uncut
paper, except for one horse folded from a dollar bill.
Each diagram includes interesting facts on the model.
Color photos and color diagrams with helpful text
descriptions.
128 pp. | PB. (S-C) #B13-128 | $19.95
3D ORIGAMI ANTI
DIAMONDS
Author: Montroll
Antidiamonds have faces
that are identical 4-sided
kite-shapes symmetrically staggered around the
central equator, resembling
a very well faceted crystal.
Antidiamonds have not
been well-explored in origami before. This book
presents 24 unique models from squat to thin, and
with differing numbers of faces, all folded from single
square sheets. Folding sequences make use of interesting symmetries and locking mechanisms. Models
are somewhat more challenging to fold than the
ones in Montrolls 3D Origami Diamonds. Grayscale
diagrams and helpful text on the folding steps.
120 pp. | PB (I-C) #B13-129 | $11.95
ORIGAMI BUTTERFLIES MINI KIT

Author: LaFosse & Alexander
Kit contains a booklet with diagrams for 6 butterflies
(plus one variation), 24 duo sheets to get you started
folding right away, and a DVD teaching the models.
These butterflies are all different than the ones in the
authors larger Origami Butterflies book (Item # B13122). Color photos and diagrams, with helpful text
descriptions on the steps. These beautiful butterflies
look nice on cards, can be made into origami jewelry,
and can add life to an origami flower arrangement.
Kit makes a nice gift or stocking stuffer.
32 pp. | PB. (I) #B13-130 | $9.95
15 West 77th Street

New York, NY 10024-5192
GLOBAL EVENTS CALENDAR

September 1416, 2013 | Nippon Origami Association | Tokyo, Japan
Information: www.origami-noa.com
October 37 2013 | PCOC (Pacific Coast Origami Convention) | Albuquerque,
New Mexico | Information: origamimommy@mac.com
October 46 2013 | Ultimate Origami Convention #7 | Lyon, France
October 2427 2013 | VI International Convention of Per (Cusco)
Special Guests: Danny Ponce (Per), July Condori (Bolivia), Alexander Oliveros
(Colombia)
October 31November 3 2013 | CDO Convention | Tabiano Bagni, Italy
Information: Roberto Gretter robertogretter@gmail.com
November 8November 11 2013 | International Convention of Origami
Colombia | Cali, Colombia | Information: encuentroorigamicolombia.blogspot.com
January 911, 2014 | OASIS (Origami Artists of Israel)
Kibbutz Ein Gedi, Dead Sea, Israel | Special Guest: Bernie Peyton
Information: origami.org.il
April 12-13, 2014 | British Origami Society | Birmingham, England
For more information about joining OrigamiUSA, please

go to our website at www.origamiusa.org
How Cool Is This

Help support OrigamiUSA by
downloading diagrams from The
Origami Source, your one-stop online
shop for books, videos, paper, and
now downloadable files!
Check among dozens of exciting
models, like Bernie Peytons most
celebrated "Angry Fish" (origamiusa.
org/catalog/products/angry-fish-pdf).
This model has everything you would
want to fold: lots of color change, a
locking fold, it blows up with air, and
its jaw opens and closes when you
move the tail. All proceeds from the
sale of the angry fish diagram go to
OrigamiUSA.
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Masters of Mini-Tessellations: On Folding Robert Lang's

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I S S U E 114Fa l l 2013

The Magazine of OrigamiUSA

Issue #114 Fall 2013

The Epitome of Origami Joy

At the OrigamiUSA Annual Convention, Moa Kulle (NY)

FROM THE HOME-OFFICE

Crease Pattern Tessellation

(Formerly The Friends of The Origami Center of America)

15 West 77th Street

The Paper Committee

Laura Rozenberg (Chair),

Lillian Oppenheimer (18981992)

Wendy Zeichner, President

Origami for All by Ioana Stoian, reviewed by Sara Adams . . . . . . . . . . . . . . . 30

Sam Riviello, Administrator

2 The PAPER | Fall 2013

Letter from the President

New Board Members

after eleven years of service to the Board.

Moving towards the new vision

hospitals, in engineering designs.

Fall 2013 | The PAPER 3

OrigamiUSA Annual Convention

Two folders learn Pako Pako designed by

Rachel Katz (NY) teaches The Last Waltz, an

Brandon Zee, Julia Zee, and Vivian Cribb

Colorful modular origami designed and

Owl on a tree origami designed and folded by

Mette Pederson (NC), origami designer and

Saber-Toothed Cat and Mammoth designed

4 The PAPER | Fall 2013

Talo Kawasaki (NY) teaches a young folder a

Bernie Peyton (center) teaches an extra class

Nathan Ascher (back center) teaches a complex origami dragon

Bubble Head Nurse origami model designed

Highland Cattle origami designed and

Tristan Saidi (NJ) helps a fellow folder, Jinni Xu

Scorpio-snake designed and folded by

For more than three decades, OrigamiUSA has sponsored Origami

Modular 8-pointed Star

Ring Tailed Lemur

Facial Tissue Paper Box

Omega Star, one-piece

Folded by Lauren Baxter (6) PA, USA

Folded by DanaRose Brown (16) NJ, USA

Folded by Krishna Girkar (10) CA, USA

Folded by Blake Derksen (17) CA, USA

Folded by Jackson Finch (11) CA, USA

Modular Box Variation Wreath

Folded by Fiona Gillespie (13) NJ, USA

Tsuru Rose with Baby

Folded by Mark Gillespie (16) NJ, USA

Jumpy Squirrel (folded by Nathan Boerner)

6 The PAPER | Fall 2013

Dead Man's Chest

Folded by Olesya Mizeznaya (7) Sazatov,

Folded by David Joo (16) VA, USA

Folded by Mark Karhan (9) NY, USA

Folded by Valentinos Katanoiou (14) Evros,

Black & White Pair of Swans

Folded by Emily Kwan (16) NJ, USA

Curler Unit Ball

Folded by Rowen Pierick (13) WI, USA