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British Origami Society Magazine Issue 273

Editor: Dennis Walker

Index Contributions
Editorial 3 We are always looking for more diagrams,
Crossword 6 articles, reviews, mini-meeting summaries,
Paper Review 7 gossip, cartoons, puzzles. All submissions
are appreciated, but we cannot guarantee
Review—Nejiri Ori 12
to use them all.
Oriddle 13
Please send articles, reviews to :-
Review—Origami: 21 Sterne 14
Review—Under Construction 15
Please send any news items to :-
Paperweight 22
Review—Max Hulme:
And all other items to the Editor at: -
A Second Selection 23
Landmarks 24
Ori-News 30 Or by post to:-
Interview—Beth Johnson 32 7 Pitdinnie Road
New Members 40 Cairneyhill
Fife. KY12 8RE
Mini-meetings 41
United Kingdom
Council 42
Craf4Crafters 43
If you are sending diagrams, we would
greatly appreciate it if you would fill in the
permissions form that can be found at
Hiccius Doccius 4
Expressive Faces 16 Deadline for submissions for Issue 274 is
May 4th
Modularis 27 26
Pinecone 35 Electronic version is available for
download to members roughly one week
after the print version is available.
If you have forgotten your membership
username and password, please email
remembering to include your name and
membership number.
Thank you to all the contributors
Cover Photo: Rose Kusudama from the
and proof readers for this issue.
Craft4Crafters show. See p. 43
Editorial Dennis Walker
Spring is here! And I hope that you’ve all left the cold season well
and truly behind. I certainly hope I have!
Spring, as always brings the start of the convention season and I
hope that many of you will be attending the Founders’ theme
convention in Birmingham. It promises to be a fun and very
interesting convention. As always, diagrams are being sought for the
model collection, but don’t forget that your magazine also needs
I’ve been busy folding lots of octagonal twist decorations, a
pastime I find curiously relaxing. One such doodle resulted
in something that, to me, looks like an incense holder. But I
wouldn’t recommend burning incense on it!

Submission guidelines
Your magazine is always looking for news, meeting reports, articles, photos, reviews and diagrams. So here is
a list of preferred formats. If the format you’d like to use isn’t mentioned, please ask as it’s likely that it can be

Article, News, Reports, Reviews

Plain text or Word format for preference, but PDFs are also acceptable.

Almost ANY format, preferably colour and as high a resolution as you can send!

Visio, Adobe Illustrator, Hand drawn, JPEG, GIF, TIF or PDF. Again, high resolution (>300 DPI) is preferable.
Please use standard notation and portrait orientation.

british origami 3
british origami 4
british origami 5
Solution in the e-mag!
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Paper Review Ilan Garibi & Gadi Vishne

Back in the days before contacting

your overseas friends was a moment
away by e-mail, we had air mail. You
wrote on one side of a piece of very
thin paper and then folded it over
itself to show the envelope side of
the paper. The idea was to minimise
the weight for transporting by air.
Those envelopes were usually made from Onion skin paper, a very light weight but
strong and durable paper. It is made using a high percentage of cotton fibres, as opposed
to wood pulp. It is an almost translucent paper and is crisp to the touch like the outer
skins of an onion, hence the name. A light ,strong, thin paper is not only useful for this
airborne method of communicating but also for thick books such as the bible and the
complete and unabridged version of the Oxford English Dictionary.
While researching the manufacturing of Onion Skin, the secret of the crumples in the
Crumpled Paper (Ed. See Issue 271) was also unravelled. From Wikipedia:- “The finish
of onion skin paper is usually cockled, since it was air dried while it was being made.
Cockled paper has a slightly wavy, handmade feel to it, along with a mildly dimpled
finish. This property means that onion skin paper often crackles while it is being handled,
as the sheets do not lie flat against each other. It also prevents leaves of onion skin
paper from sticking to each other or other surfaces, a common problem with very light
weight papers.”
We got our stock of OSP 4 years ago in a dusty warehouse in Jerusalem at the bargain
price of 100 US$ for a pack of 500 sheets. The manufacturer of this particular brand of
Onion Skin is the Barcino Paper Mill from Spain. You are unlikely to find this specific
brand in your local paper store, but there are many other producers who still make this
So, light and thin sounds like a perfect starting point for an origami paper, doesn’t it?
Here are the results of our tests.

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The properties:
Thickness - The weight is 35 GSM. The thickness is 46
microns, the thinnest paper we have tested
compared to the Test Kraft (48 to 53 microns), and
Japanese Foil ( 52 microns.)
Sizes – Usually Letter or A4 (Our sheets are the
unusual size of 845mm x 644mm)
Colours - Only white.
Texture - Cockled paper is the perfect term. It’s like the Crumpled paper, but the bumps
are more subtle and they have a direction - with more length than width. The paper is
semi-transparent and has a visible water mark .
As always with white paper, playing with light and shadow with a back light gives
interesting effects. This paper, being semi-transparent is even more impressive.
Paper Colouring or colourability - applying water colour (by Ecoline) gives good results,
but you have to be careful to spread it evenly. After drying there is no shrinkage at all and
the paper became stiffer and easier to fold. Check the Powerpuff blue units to see an
Ageing and Wear and Tear - my first ever Pegasus was made
from this paper, as well as the Unicorn and the Smilodon, both by
Kamiya. All three are still standing, firm and stable, on all four
legs. The colour hasn’t faded, the white is just as it was on day
one, almost 4 years ago. The tear machine gave slightly better
results than for the Test Kraft, staying true to its reputation as a
durable and strong paper.
Tensile Strength - tested by the machine, the value for this paper is 1.5 Kg, against the
grain, with 4 mm stretch. With the grain, the weight it can hold before tearing apart is 4
Kg, and it stretched by 10 mm! Although the tensile strength is similar to Kraft, the
stretch numbers are much higher, since it is made from cotton fibres, which are far more
elastic than the wood pulp used for Kraft. 8.5 out of 10.
Bending Resistance - the amount of force you
need to apply to get a sharp crease, and how
strong a paper is while being curved (like
during the puffing of the Powerpuff unit).
Curving is not a strong feature. Trying to keep
the Powerpuff modules puffed gave
unsatisfying results. A sharp crease can be
achieved easily with your finger nails. 5 out of
Left: Powerpuff showing colour and issues with
bending resistance.

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Memory - good. Make a crease and it will stay. Flattening
the paper after a crease, there is a visible line, but you can
not feel it with your finger, there is no evident bump. 8
out of 10.
Forgiveness - fair. Like Crumpled Paper, when you try to
reverse a fold it’s hard to feel the fold line on the other
side. It’s almost like guessing it is there. It’s easier to
reverse a fold line against the fibre’s direction, as
expected. 5 out of 10. Double wave
Photogenic -it is a white paper. I like the unevenness of the surface with animal models,
since it’s more skin-like. Images with back light or in black and white emphasize its
Where to buy
I do not know the address of this paper warehouse in Jerusalem, but since we bought
the only package he had, it doesn’t really matter. Being mainly for office use, many
retailers sell it in the A4 proportion.
Amazon sells it here:
The also stocks it:
skin-paper .
Test results
Traditional use - The Crane from a 15cm square. As
always with thin papers, the result is very sharp. But
it’s a crisp paper so when I pulled the wings apart, the
centre did not curve gently, but broke into uneven
Action mode l – Barking Dog, by Gadi Vishne;
Traditional Flapping Bird; Traditional Jumping Frog; all
from 15 cm.
The frog did not jump very high. The paper isn’t springy enough. However the bird will
flap for hours with no sign of fatigue or weakness. Pushing the back of the dog`s head
demonstrated the paper’s high elasticity.
Tessellation – Pineapple tessellation, by Ilan Garibi, from a 34cm square - during the Grid
phase, this paper reminded me of the thin Kraft test paper from the previous review. It’s
hard to find and reverse the crease lines that go with the grain. Unlike the Kraft, the
crease lines on the Onion Skin are hardly visible, which makes the next phase - the pre-
creasing - not an easy task to complete. The collapse was fairly good, since the paper is
crisp and has some bending resistance despite its thinness. The final result looks elegant
and clean. The back –lit image shows the grace of the white paper.

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Double Wave tessellation, by Ilan Garibi,
from 22 cm. Since the Pineapple tessellation
demonstrates the back light effect (right), I
chose this tessellation to replace the Mystery
tessellation. It was created for someone who
wanted to present a beautiful antique ring in
a jewellery exhibition and she found it to be
a perfect background. It is made by a very
simple procedure of folding back and forth
one line on two. This paper is perfect for this
method. On a 22 cm paper I made a grid of
64, with no particular problems. Folding was
easy even with any layers that accumulated
in the centre, due to its thinness.
Complex – Pegasus, by Satoshi Kamiya, from 30 cm square - my first try of the Pegasus
was 3 years ago with this paper. I re-folded it for this review. I must say it went very well.
Forming the base was easy, open sinking stage 37 slowed me down but only a little, and
the zig zag in the wings could be folded with high density. I compared both old and new
models, and the only difference is a yellowish colour resulted from some MC I applied
on the older model.
Owl, by Katsuta Kyohei (Japan), from 30 cm Square - This thin paper really needed
another complex model. Box pleating the body went extremely well, similarly for the
wing tips. The talons require gentle, accurate reverse folding and shaping, stretching my
abilities but not the paper’s. The cockled texture gives a lovely finish to the model.

Modular/Unit Origami - PowerPuff modular, by Ilan Garibi, made from 30 units, 12 cm

squares - preparing the squares with an Envelopener caused some tears in the edges,
since this paper is bumpy, or crumpled. Inside-reverse folds are difficult, and you need
to fold it again on the other side to make it reverse correctly The 5 units I coloured
behaved much better, and reversing their folds was much easier. Puffing was not fun at
all. It was difficult to get the shaping of the rounded parts and the inner flaps tended to
open up again and again. Connection was a disaster. The paper is soft and I couldn’t
connect the units without the benefits of, well, glue. But glue raised another problem -
if the paper gets wet, it curls quickly and becomes even softer. I had to usea tiny point of
glue to avoid that problem. The final result is very airy and worth all the effort.
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3D models –
Rat, by Joisel; from 20cm square - the paper is great for multi layers. Being so thin, it is
easy to fold many layers. On the other hand, since it is a smooth paper, the layers tend
to slip over each other, so it is wise to pre-crease each layer beforehand. The final result
is very satisfying but the paper is too weak to hold its weight.
Omega Star, by John Montroll; from 20 cm - the classic Omega Star is a modular, but not
Montroll`s version. This model is made from one sheet, and requires a thin paper
making Onion Skin a perfect candidate. I was not disappointed. Folding went well, and
the final result is nice, although the spikes are not as sharp and straight as I wanted
them to be.
Fox Terrier by Francisco Javier Caboblanco (20cm square) - all went well, until the last
step, going 3D. The model spread its legs wide, and nothing could hold them back. I
sprayed some water on it, the paper absorbed it all and became highly flexible; too
much to be moulded nicely. On the other hand, it dried very quickly and the final
posture is very stable. This paper is not for wet folding, but to shape here and there it is
Wet Folding - the paper is way too thin for wet folding the Polar Bear model.
Final verdict
Four years ago, and with very little knowledge on paper, I disliked Onion Skin. It was too
crisp, hard to reverse fold, and easy to tear by an accidental move of a sharp finger nail.
Today, older and wiser, with many paper types and brands in my paper collection I can
say it is one of the best thin papers I have. But you have to choose your project wisely.
For complex models it is great - it’s thin, durable and will stay for many years in your
display cabinet. I wouldn’t use it for modulars, and Paper Onion Skin
for tessellation I will choose complex ones, or those
that have very small flat surfaces between the Thickness (GSM) 35
molecules, to avoid that crumpled look. I found it
perfect for Goran Konjevod's organic collection of Size (cm) A4, Letter
models. Being so thin it is absolutely not for wet
folding, but for shaping here and there - it’s great. Colour palette White
For traditional, simple models it will work just fine, Texture cockled
much better than Printer paper, with less of an aging
problem, or losing its whiteness over the years. 3D Aging Many years
models need the help of a tiny amount of moisture
here and there. Colouring the paper makes it even Memory 8
better, giving some extra crispness for folds that go Forgiveness 5
along the grain.
In flickr - almost nobody uses it or cares to state that Strength 8.5
they do. I found only 4 beautiful back-lit stars made Tensile strength 5
by gailprentice, and my own models.
Final score 8
Bottom line - nostalgia has many benefits!

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Origami Workshop: Nejiri Ori
Project F
ISBN 978-4-416-31200-1

Project F is the wonderful pseudonym of three Japanese

origami artists: Satoko Saito, Tomoko Fuse, and Taiko Niwa.

They all agreed that Shuzo Fujimoto produced wonderful origami, but most existing
diagrams are difficult to follow and most people who looked at Fujimoto's ``Twist
Origami'' booklets would agree. A few issues ago I reviewed their first joint effort, Ajisai
-Ori. I mentioned then that the group were working on a second book of Fujimoto's
work. This book is finally out, and it has definitely been worth waiting for!
The book has the same format as the previous book: a beautiful, enticing, colour
gallery at the beginning of the book and clear diagrams for all the models. The gallery
showcases the various models in the book. All of the models are exquisitely folded. The
authors have put a great deal of thought in arranging the models and selecting the
papers to fold the models from. An especially striking 3D sculpture is photographed
outside against a background of rocks and greenery. For the three Fujimoto apples,
one green, one red, and one yellow the photograph shows that the stem for all three is
dark green.
The instructions in the book are very clear. The book is in Japanese, but any origami
enthusiast should be able to follow the instructions. The books contains a large
selection of Fujimoto's works. Some are well known, some less so.
The book begins with an interesting system of geometric models. The system consists
of triangular paper tubes with hinges (made from rectangles with slits). The tubes are
hollow, and by inserting parts of one tube into a second, they can be connected to
make geometric structures, such as icosahedra, dodecahedra, and more. The tubes are
fun to fold and connect; it's a really clever system.
Then begins a section of models made from hexagons. The variety of models one can
create using a simple twist on a hexagon is astounding. From a variety of six-pointed
stars, to delicate snowflakes, to a daffodil. These models, when folded from nicely
patterned paper, make great greeting cards and many photographs in the book
showcase beautiful greeting card ideas. The more advanced hexagonal models add
three-dimensional elements and require some pretty elaborate folding.
The next section is all about folding stars, or star-like forms from squares and
rectangles. From Fujimoto's classic five-pointed star (from a sheet of A4 paper) and six-
pointed star (from a square), to various medals and strings of flowers or stars. These
models rely on a great deal of pre-folding, and produce a gorgeous result.

british origami 12
Then comes my favourite section of the book, the section on polyhedral forms. It
begins with three of Fujimoto's signature twist-fold containers: a rectangular container,
a hexagonal container, and my all-time favourite origami fold, Fujimoto's cube. The
cube has an ingenious folding sequence, and, in my opinion, the best move of all of
origami. This move is illustrated in the book with an accompanying photograph, to
make sure that every folder experiences it. Then comes Fujimoto's famous apple. An
elaborate modular fold is next. It is really a big molecule, made of tetrahedra and/or
octahedra connected with origami struts. The book does a good job of showing the
possibilities of this modular system. The final model of this section is a one-sheet
sunken cuboctahedron.
The final section of the book is full of twisted models. Basically, these models consist of
a repeating pattern of creases that are brought together into a nice structure. There's a
great looking decorative column, a lollipop, a chalice, and more. A really nice one is a
pattern that makes repeating hexagonal stars. It looks like a spring made of stars of
David. It's really quite nice. There are a few models that provide some finger
amusement here as well. The paper is folded into a form that can be flexed into a
different form. This provides ample fun for the fingers.
I wanted to compare this book to the books published by Fujimoto himself. This only
made me appreciate more the work that the Project F team had done. Fujimoto's
original booklets are hardly decipherable, especially without knowing Japanese. Only
the slightest hints are given on the way to the completed model. On the other hand,
Project F's new book provides clear, easy-to-understand diagrams. This makes folding
the models a joy, not a brain-teaser.
This book is a gem that collects some of Fujimoto's best work. The models are clearly
diagrammed, beautifully photographed, and well selected. Any lover of Geometric
origami, and any person who appreciates Fujimoto's work, should get this book. This is
a true masterpiece. I can only hope for a third volume!
Boaz Shuval

Matt Humberstone

The answer to last issue’s oriddle was a traditional pajarita.

Well done to everyone who managed to work it out!
Can you identify this model from these very short instructions?

Square base.
Squash and petal fold flaps.
Mountain fold sides to centre to narrow flaps.
Reverse fold two adjacent flaps upwards then outwards.
Reverse fold the other two flaps outwards then downwards.
Add more reverse folds and inflate (optional). Answers in the next issue.
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Origami: 21 Sterne
Carmen Sprung
ISBN: 978-3-00-036571-3

I have long appreciated the origami work of German origami artist Carmen Sprung. She
specializes in designing origami stars that are both fun and easy to fold and also highly
decorative and beautiful. Diagrams for these stars were hard to come by. A few were
published in the odd origami magazine, or European convention books. For a long time I
have wished for Carmen to collect her stars in book form. Thankfully, this wish has come
The book is printed on quality A4 size paper, and is about 100 pages long. The first third
of the book is devoted to a colour gallery, and the remainder for the diagrams of the
various stars. The book has a very clever feature that I like: a pictorial table of contents.
The inner flap of the front and back cover contain photos of the book's 21 models. Each
photograph is accompanied by the star's name, the page it appears on in the book, and
a difficulty rating. This makes using the book very convenient. There is also a regular
table of contents that lists each model with its location in the gallery and in the diagrams
section. This table of contents also instantly reveals that there are stars of two types in
the book: modular (15) and single sheet (6) stars.
The gallery contains beautiful photographs of all the stars in the book. For each star,
Carmen has carefully selected the papers for folding to best complement the design.
Several stars have multiple photographs from different papers or angles. There is also
some text accompanying the gallery. It is, of course, in German, and seems to contain
various tips on the models. Some of these tips are accompanied by photos, so even non-
German readers can understand them. The gallery also shows some variations for
several of the models, so in fact there are quite a few more stars in the book than the
advertised 21. The final pages of the gallery contain photographed steps of some of the
trickier folds.
The modular stars are made from rectangles of various proportions. Many are from
squares, but some are from other rectangles. For this, Carmen has provided folding
instructions for making each of the required shapes. At the end of the book there is a
handy table of the book's models and expected size. For each model, Carmen has
measured the ratio between the size of the piece of paper used and the resulting model.
If you need to make the stars fit some decoration, such as a greeting card, this table is
very helpful. You can easily use to figure out what size paper to begin with to make a star
of a desired size. Carmen also provides example on how to use this useful table.

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The diagrams are very clear. At the top of each page is the model's name and difficulty
rating. The first page of instructions for each model lists the required proportion and
suggested paper size. Whenever a non-square is called for, there is also a reference to
the page where you can find instructions for making this proportion (even when the
proportion is 1:2!). The diagrams are greyscale, but clearly show the different sides of
the paper. Whenever Carmen recommends multiple colours for the model, she uses
different shades of grey to show it.
This book was clearly written with the folder in mind, and no effort has been spared in
making it as easy and inviting to use as possible. It is a welcome addition to any person's
origami library. Boaz Shuzal

Origami Under Construction

Giles Towning
BOS Booklet 74

Not so many years ago I was at a BOS convention, folding something in the dining room,
sharing the table with a guy looking through some origami binoculars, it was Giles
"Origami Under Construction" is different. By BOS booklet standards it is a large booklet
with 90 pages of diagrams for at least 30 models (and variations). The anecdotes and
random philosophies throughout the publication make for a great read, alongside the
very entertaining folding.
A few of the models start with a square but most are based on the "ISO A" format. The
size given for the paper at the start of each model ensures that the models are scaled
relative to each other.
The models start with a toolbox and then fill it with a saw, a hammer, nails, spanners
(open, socket and ring type), a screwdriver, a vernier, a retractable tape and an
engineer's square. The models make extensive use of non -complex box pleating
techniques. The diagrams are hand-drawn and easy to follow, but the finished models
require a fair bit of moulding to attain reality.
Following on from the tool models are an action model golfer, green and flag. It took me
a while to understand the relevance of a golfer among the theme:- after a hard working
week, nothing can beat a potter around the 18! The binoculars are here too, the addition
of small models placed in the "lenses" adds further to the "authenticity" of another
wonderful model.
I like this book a lot because it is different. It has a theme and in a warped way deviates
from it. Once you've folded a vase and flowers or a chess board and pieces to scale, a
toolbox and tools seems the next logical step. David Jacobs

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Expressive Faces Tom Defoirdt
These diagrams are not step-by-step instructions showing how to fold a certain face.
Instead, they aim at providing instructions to folding separate facial features: eyes,
mouths and noses. In principle, each variation of eyes can be combined with each type
of mouth and nose, which will allow you to create a large range of different faces. I will
also provide some hints on how to give the faces different expressions.
In fact, the folds that are used are not complex; the complexity comes from the fact that
different folds need to be performed together and that most of these manoeuvres will
make the model three dimensional. An additional challenge lies in finding the best
proportions of the faces (i.e. the distance between different facial features). There is no
rule of thumb for this (no reference points), you should “feel" it or find it via trial and
error. The faces are best folded from foil-backed paper or by wet-folding. I mostly use a
2x1 rectangle, although it’s also possible to use a square (diagonal symmetry). These
diagrams can also be used to add a face to human figures using only one flap for the
head (see last section for an example). Enjoy creating faces!
Eyes 1
This is the simplest version of eyes. It’s
suggesting eyes rather than really
folding eyes.

Eyes 2

Pleat as indicated (the The upper eye-lid is created by Finished eyes type II.
upper pleat is wider valley-folding the pleat made
You can give the eyes
than the lower one). in step 1. The mountain folds
different expressions by
are not sharp folds. The model
altering the pleat widths.
will become 3D. The lower eye
-lid is suggested by pinching
the lower pleat.
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Eyes 3
These eyes are based on perpendicular horizontal and vertical pleats. Horizontal and
vertical pleats can have the same width or can have different widths, depending on the
expression one wants to create.

Valley-fold the
Pleat as indicated Pleat as indicated Valley-fold the two upper
(both have the (both have the corners together. Some edges
same width). same width). hidden paper will come out.
The model becomes 3D.
Repeat with the lower

(Optional) Push from Finished eye

the back to create a type III.
dome-like structure.

Nose 1

Fold as indicated. Start Like this. Open the Push inside to open and
with the horizontal model. The nose shape the nose.
mountain fold. Then will not lie flat.
fold in half and finally
slide the lower edge
back to the bottom.
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Finished nose type 1 Extra: you can give the face a moustache by
folding the lower tips into a rabbit ear.
Nose 2

Unfold completely
Pleat as indicated (both
Pleat as indicated
pleats same width)

Add 45° valley folds and

Finished nose type 2.
collapse along existing creases

british origami 18
Hint: opening the vertical pleats will create more volume which can then be used to
make a hat or hair (on top of the face) or a beard (below). The effect will be even more
pronounced if you use eyes of type 3 and then also open the vertical pleats used for the

Mouth 1

Open the pleats to Finished Mouth

Pleat as indicated
shape the mouth. type 1

Mouth 2

Pre-crease as Collapse. Fold the edges Finished Mouth

indicated upwards. The model will type 2
become 3-dimensional

You can alter the expression of this mouth by changing the dimensions of the creases
made in step 1 (length and height of the mouth), or tilting them to one side to have one
side up and the other down (leaving the vertical line perfectly vertical).

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Mouth 3

Variation: Insert horizontal creases Variation: add mountain creases to

to make the mouth wider suggest lips

Folding sequence
If vertical pleats are needed (i.e. eyes type III and nose type II), then start by folding the
vertical pleats. Then fold the nose. This will allow you to locate the position of eyes and
mouth. Finish the face by folding extra features (moustache, beard, hat), adjust the three
dimensional shape of the face and round the edges.

Here are some examples of faces I have folded so far. More pictures at

African mask; folded from a chocolate Ancient mask. For this face I used eyes type
wrapper. For this face, I used eyes type 1, 2, nose type 1(note the moustache) and
nose type 2 and mouth type 1. mouth type 2. I aimed at depicting a
shouting commander (mouth wide open,
large eyes).
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Soldier. The vertical pleats used to create
nose and eyes were opened at the top of the
model to create the helmet. Soldier. Approximate crease pattern. Paper
that is hidden in the final model is shaded.
For this face I used eyes type 3, nose type 2
and mouth type 2

Satyr. For this face I used eyes type 3, nose

Goddess. For this face I used eyes type 2, type 2 and mouth type 2. The horns were
nose type 2 and mouth type 2. A tessellation created by inserting horizontal, diagonal and
was added to suggest hair. vertical pleats.

british origami 21
Nick Robinson

I have been lucky enough to attend many

overseas conventions and each one is a
treasure trove of happy memories and new
experiences. More and more countries are
offering conventions, sometimes more than
one, so there are many to choose from. If
you do decide to take the plunge and travel
abroad, here are some pointers to consider.
If you have some basic knowledge of the spoken language, you will feel far more
involved in things and get a superb opportunity to put your skills into practice. Even a
ten week taster course will allow you to say hello and order a cabbage in a
restaurant. Locals are always delighted to hear you mangle their mother tongue and
whilst in Spain last year, I taught all my models in Spanish, despite having only made
7 of the 10 weeks at evening class! Somehow we got by and it was great fun. My
advice is to find a list of origami phrases in the chosen language – there are several
on the web, and dive in head first!
In some European countries (such as Germany) you will find high levels of spoken
English, indeed sometimes higher than your own! Don’t make assumptions though -
in Spain, fewer people seem to know English. In Japan you will usually need someone
to act as a translator, not just to understand what is being said, but also to prevent
potentially embarrassing breaches of etiquette. Most Americans have a passing
knowledge of English, so you should be OK there. If you shop around, you can also
buy a wallet-sized electronic translator, usually with several languages, which helps
when you are really stuck. By and large, language is all part of the fun and where
there’s a will to communicate, there’s always a way.
Unless you’re prepared to brave British Rail and the Channel Tunnel, flying is the only
option. Try to book ahead as far as possible, since your costs will increase and choices
decrease, the later you leave it. Spend as much time on the web as possible,
shopping around – it can pay dividends. Consider separate flights – two singles can be
cheaper than a return ticket. Whilst some venues are conveniently located for
airports (the Freising venue is a 15 minute bus ride), others require more effort. The
Didactics Conference in Freiburg requires (for me) a bus journey to the station, an
hour’s train journey to Manchester airport, several hours wait, a 2 hour flight to
Basel, a 50 minute coach trip to Freiburg, then a 20 minute bus journey to the venue.
Don’t expect to have much energy left when you arrive! It’s well worth booking an
extra day in advance so you can arrive the day before the convention and get a
decent night’s sleep.
british origami 22
Selected Works: A Second Selection
Max Hulme
BOS Booklet 73

This booklet showcases the work of one of the UK's most prolific origami artists, Max
Hulme. Max is a highly creative folder, but diagrams for his works are scattered in various
convention books and magazines. It is nice to have a collection of some of his best works
in one place. As the title suggests, this is, in fact, the second booklet featuring Max's
work. The first booklet contained models by Max from the seventies. Max's work has
evolved a great deal since then, as is evidenced by this current booklet that collects
some of Max's best works from recent years (although a few "golden oldies" are also

The booklet contains a wide array of models: animals, human figures, inanimate objects,
chess sets, and more. This booklet is really jam-packed. In fact, no page is wasted in this
booklet: even the back cover contains instructions! The paper shape for folding varies.
Most models begin with squares, but a few begin with rectangles or even triangles. The
diagrams are all computer drawn, and are clear, if somewhat concise. The models are
not complex, but are also not suitable for beginners. Folding experience is required in
order to fully enjoy the booklet.

Over the years, Max has designed origami models using various approaches and
techniques. The models in the book really showcase this. I only wish the models had
been dated, so one would be able to tell which "phase" Max was in when designing the

Probably my favourite model of the book is Max's Angel; this is a truly delightful 3D
figure of a winged angel. Other favourites from the book are the twist chess set on the
back cover (provided as a set of crease patterns only, although one needs not be a
crease pattern expert to successfully fold these). I also quite like Max's potted plant
model; it is a very clever multi-piece composition of a flower in a pot.

I am glad that Max has compiled this booklet and made available, in one convenient
location, this choice selection of models. I highly recommend this booklet.

Boaz Shuval

british origami 23
Landmarks News updates from the BOS Tung Ken Lam
Spring convention 13 - 15 April 2012, Hotel Campanile,
There may still be time for you to attend our spring 2011
convention as it is scheduled for 13 - 15 April 2012. The
convention will be a celebration of the founders of the
Society and the guests will be some of the Society’s original members including Mick Guy,
Joan Homewood, David Lister, John Smith and Iris Walker.
The convention and the Model Collection will highlight some of their pioneering work. A
full report will be included in the next issue. Booking details can be found on the society’s
website (

Autumn convention 7 –9 September 2012, Liverpool Hope University

Renowned origami mathematician Tom Hull is our special guest for this convention which
will have a special focus on Origami in Education in addition to the usual convention
activities. The Model Collection will include model diagrams and articles on using origami
in education. If you’re interested in contributing to the convention please contact me
( or Sue Pope (

Nick Robinson is coordinating the autumn 2012 Model Collection. If you have any new
designs you would like to share then please email them to Nick Robinson

2013 Conventions: Birmingham ….

We are delighted to confirm that the Spring 2013 convention will be held at the Hotel
Campanile, Birmingham, 5 – 7 April 2013. This venue has proved popular because of its
good transport links and integrated facilities.
…..and Edinburgh
We are excited to announce that the Autumn 2013 convention will be at Pollock Halls,
Edinburgh University, 30 August - 1 September 2013. Dennis Walker and Martin Quinn
are organising the first BOS convention in Scotland which coincides with the end of the
Edinburgh festival.

Be sure to put these dates in your diary and look forward to enjoyable times at great
locations in 2013.

British Origami digital edition

This is the second year that you can download or view the full colour pdf version of the
magazine at the members’ area of the society’s website (
members). If you have any feedback on the format please let the editor know
british origami 24
BOS Supplies
At the 2011 AGM Vignesh Cumareshan took up the position of Supplies Officer. However
a change in personal circumstances means that he is unable to commit to the role as he
had originally intended.
We are therefore looking for a volunteer to support this important area of the Society’s
operations. Supplies not only benefits members with some unique or hard-to-get
products, but also helps fund the running of the Society. The storage and dispatch of
products has been handled successfully by another organisation for some time. The
Supplies website has also been running successfully
thanks to the work of Phil Swinbank and team.
This means the Supplies Officer’s role is more about sales and marketing e.g. monitoring
sales and stocks, sourcing new products, finding new sales outlets, promoting products
like Giles Towning’s new booklet Origami Constructed, etc. If you would like more
information or feel you could help, please contact either myself or another member of
the council.

Origami Exhibitions by the Nature Club of Pakistan

The BOS has received a request from the Nature Club of Pakistan. They have recently
expressed an interest in origami and are planning to undertake a series of origami
exhibitions in various locations in Pakistan and are looking for origami pieces to feature in
their exhibition. All submissions to this project should be sent to Muhammad Raza Khan,
President, Nature Club of Pakistan, 115-H , Model Town, Lahore, Pakistan.

British Origami Society Events

If you are organising an origami event or teaching session, let us know. As a society we
can support events by providing leaflets, membership forms, bookmarks and some
sample magazines to distribute. We can also supply starter packs for sale featuring the
new edition of Paul Jackson’s ‘Ten Simple Paperfolds’.
As a member of the society you may also be covered by the BOS insurance which gives
members public liability insurance when working on the society’s behalf. There are
restrictions to this, so please contact Nigel Elworthy (BOS Public Relations officer, prior to the event for more details.

International Conventions
Origami Societeit Netherlands — 13-15 J. Lang, Quentin Trollip, Javier Caboblanco
April: Mennorode, Elspeet (The and Isidoro González.
Netherlands): Special Guest : Rikki
Origami Deutschland— 11—13 May:
Schwäbish Gmünd (Germany): Special
11th Polish Origami Meeting — 28-30 Guests: TBD
April: Krakow (Poland):
M.F.P.P Rencontres de Mai—17—20
AEP Convention— 28 Apr.—1 May: May: Angoulême (France): Special Guests:
Bilbao (Spain): Fumiaki Kawahata, Robert TBD

british origami 25
Modularis 27 Klaus-Dieter Ennen

british origami 26
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Ori-News Collated by Dr. Simon Scarle
Conference Origami Crispbag – Handbag
you’ll find instructions to make this hand-
bag made entirely from crisp packets, or
for our American cousins, a purse made
from potato chip bags.

A fold pattern for a design by Jason Ku

forms the main image of a poster of a
recent technical conference TEI2012: Sixth
International Conference on tangible
embedded and embodied interaction.
Jason poke at this conference which took
place in February 19th -22nd 2012, where
he gave an “Introduction to Origami:
Folding, Design, and Analysis”. One of Printed Origami
themes of this conference was
“exploration of folding and unfolding in
design.” Jason himself explains how he
came to be invited to speak at the event:
“A friend of mine at MIT showed me a
postcard with this crease pattern on it
being handed out at last year's TEI
conference, without attribution, with a
challenge to fold it. A successful attempt
would result in free registration to TEI
2012. I contacted them, and they seemed
quite embarrassed for not contacting me
first. I gave them the cleaned up vector These fascinating traditional origami
drawing shown in the advertisement. In designs have in fact been printed, using
exchange, they agreed to credit me (which the modern technique of 3D printing. The
they should have done in the first place) details of how they were produced can be
and waive my registration fee.” found here:
british origami 30
Lang String & Skin Combos Big Dragon in India

Three of Robert Lang’s musicians appear

on the cover of a recent CD for The String
Contingent., who Lang describes as “an
acoustic trio from Scotland and Australia”,
and they also asked nicely for permission Himanshu Agrawal describes on his
to use his designs before going ahead with Facebook page this giant creation: “I was
the cover. Also being nice and asking invited by the Indo-Japanese Association
permission was Sean Grimes who so loved and the Japanese Consulate to participate
Robert’s Koi design that he had the crease in a cultural exhibition organised to
pattern tattooed on his arm (by tattoo commemorate 60 years of India-Japan
artist Italo Ganni). How is that for relations. I made this 25-feet long Origami
dedication to origami! Dragon for the event. There are 3200
scales on this. I am looking so haggard
because of almost non-stop folding over 6
days (approx. 78 hours)! Phew!”
Floating Origami

New Record Distance

Joe Ayoob threw a paper aeroplane design
by John Collins, breaking the world record These charming floating candles are made
by 19 feet, 6 inches. The new world to look like traditional simple folds, and are
record, once verified, will be 226 feet, 10 available from
inches. Video of the flight can be seen at
More News in the electronic
british origami 31
Beth Johnson
Anyone on Facebook or Flickr has probably seen the
wonderful work of Beth Johnson. If you haven’t (and
even if you have!) I recommend that you visit
where you’ll find photos , CPs and diagrams (Ed. I’ve
got to try those adorable hedgehogs)
Hello Beth. Would you like to introduce yourself?
My name is Beth Johnson, and I live in Ann Arbor,
Michigan with my husband and 6 year old son. I have a
background in Anthropology and Environmental Policy
and worked for 10 years on Great Lakes water resource
issues. I left my job a few years ago to pursue more
creative outlets. Folding was initially not my focus, but
soon after I began focusing more on folding and designing origami.
How long have you been folding and what got you started folding?
I believe I started folding around second grade and have been folding on and off ever
since. My parents bought me an origami book for Christmas and I took to it right away.
It’s always been an interest of mine that I keep coming back to.
How long have you been creating and what got you started creating?
I began creating my own models about two years ago. I started designing after tackling
my first crease pattern, an owl by Joseph Wu. It seems hard for me to believe now, but I
hadn’t even seen a crease pattern before that. I folded from books and was unaware of
the amazing online resources for origami. Folding a model from a crease pattern forced
me to think beyond the step-by-step approach to folding a model. It completely changed
my thinking about how models are created and opened my eyes to the reality that
anyone can create them. It was a bit of a paradigm shift for me.
Who are your favourite creators and why?
Let’s see, there are so many! I have a fondness for tessellations and corrugations, so
there are those folders that are doing amazing work in this area, like Eric Gjerde, Chris
Palmer, Joel Cooper, Polly Verity, Ray Schamp, Ben Parker, Robin Scholz, Goran Konjevod,
Ilan Garibi, Christiane Bettens and Christine Edison, among others. For representational
models, I am a big fan of Joseph Wu’s work, and a few of his pieces are my favorite
models of all time, like his lion and his Gorgon bull. He has a wonderful style and can
make incredibly complex pieces look simple and elegant. I also love Quentin Trollip’s
models. Every new piece he creates is beautiful and perfect. I am a huge fan of Giangh
Dinh’s work. I have tried to mimic his style and I find it very difficult. They are like
sculptures out of paper. Hoàng Tiến Quyết's pieces are also an inspiration to me, and I
love his style. Eric Joisel, of course. Jozsef Zsebe (his hippo and sheep are fantastic),
Hideo Komatsu, Fabian Correa, Sipho Mabona, and so many more.
british origami 32
What’s your favourite of your own creations and why?
That’s a difficult question. My favourite creation is usually the last model I created, or
at least temporarily it is. So right now it is probably my latest acorn. It is such a great
feeling to create a new design, especially when I work for a while on it and it’s not
quite right and then, suddenly, it all comes together. Aside from that, it’s really hard to
pick a favourite. If I had to pick just one, I think I would have to say my bear. I don’t
have any models sitting out in my house, but if I did, it would probably be this one. It
is also the model I usually choose to represent my work in an article or online. I’m just
very happy with the final result. It is not, however, my favourite to fold. That would
probably be my hedgehog because I love the folding procedure for the corrugation
used in this model.

Who or what inspires your creations?

The inspiration for a new design can come from a
number of places. Oftentimes I will see a pattern in a
tessellation or corrugation that reminds me of
something - bear fur, owl feathers, a sheep’s coat, or
the top of a pinecone, for example. Other times, I will
just be doodling with paper and see a line or shape that
inspires a new model. This is how I created my second
and third owls. Sometimes I will see an image or
sculpture that I really like and I will try to recreate that
in paper. I also find inspiration in other’s work,
particularly Joseph Wu’s, Giang Dinh’s and Hoàng Tiến
Quyết's pieces. I like the simplicity of Giang’s and
Quyết's work and the structure of Joseph’s pieces.

british origami 33
Your models often use tessellation techniques as a means rather than as an end, is this
a deliberate ploy?
Absolutely. I love the patterns in tessellations and corrugations, and enjoy folding them
in and of themselves. I think they can make a model more interesting by adding texture
and volume and interesting lines. There is a beauty and elegance in the geometry of
many of these patterns that I’m drawn to and that translates very well in many models.
They also (to my eye) have a very simple, elegant style. Again, is this something that
you strive for?
Thank you for this nice comment. I definitely strive for that kind of aesthetic and it’s
nice to hear that this is your perception. I tend to lean more towards the “less is more”
style of design. However, I have a great appreciation for the incredibly complex designs
that so many people are creating today. While this is not my style, I also don’t feel I am
nearly as strong a technical designer as are many contemporary designers. I am working
on that, though!
What do you fold to relax?
I love folding corrugations and tessellations. There is a beauty in the process, and I find
them very rewarding and satisfying to fold. I enjoy folding them as much as I enjoy the
final result. Sometimes even more.
What origami ambitions do you have?
I get the greatest joy out of creating new designs and working on new pieces. I’m
currently working on an exhibit where I am creating some pieces that react to people as
they walk by. This is a new area of interest for me, and I think it’s driven by how
beautiful these pieces are when they move or when they are illuminated, and you can
see the contrast of light and shadows. My thinking on this topic mostly focuses on how I
can bring in some money to justify spending so much time folding. I was doing a few art
shows and selling my pieces, and I really don’t think this is the route I want to go. So I’m
starting to look more towards teaching origami classes, which I very much enjoy. If I can
support myself enough to continue to work on new designs and installations, I’d be
thrilled. I am also interested in the practical applications of origami and am currently
collaborating on a research proposal with some engineers. I’m not sure which direction
that may go, but it’s an exciting prospect. Origami has so many interesting aspects to it -
the art and design, the potential for application in math and science, as an education
tool - that continue to
fascinate me. I’m excited
about what possible
directions lie ahead.
Thank you very much Beth!
Beth has also kindly sent the
diagrams for her pine-cone.
Adorable hedgehogs!
british origami 34
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british origami 39
New Members Penny Groom
These are the latest new members, hope to see some of you at a convention this year.
Just a note for overseas members paying by credit card, I need the 3 digit security code
from the back of the card now as well as the card number and expiry date. Please don't
forget to send it to me when you renew, the electronic credit card machine won't work
without it!
Best wishes
Anne Westbrook – Bexhill-on-Sea. Kathleen Pickering – Darlington.
Brian Smith – Henfield, West Sussex. Christopher Taylor – Alfreton, Derbyshire.
Alan Penman – Falkirk. David Dawkins- Southsea.
Colin Darcy – London.
Charlie and Luke Skottowe join Tim as family members.
Benjamin Fuller – Northumberland.
Alexandra Prabhaker- Sydney, NSW, Australia.

Origami Robots?
Rikki Donachie found this intriguing article in the
New Scientist about using origami to build ‘soft’

british origami 40
1: Scotland: Last Sunday of every other month.
Contact Dennis Walker 01383-880193

2: Manchester: Third Saturday of every month


Contact David Tittle

3: Sheffield: Date Varies

Contact Nick Robinson 0114 250 9388 3

4: Nottingham: 5

Contact Erica Thompson 0115 981 2750

8 6 7

5: Birmingham: last Sunday of every month

Contact Dave Venables: 01564 -24255 or Peter Borcherds 0121-475-3029

6: Slough:
Contact David Raynor 07919-205671

7: London: Second Saturday every month

Royal Festival Hall Café, Southbank, 2 pm to 5 pm

Contact Paul Hanson 07967 347771

8: Bath:

Contact Katie Carpenter 07596 090619

The mini-meetings are the best way to meet other folders in your area regularly. Please
support the local groups by going along to share your new enthusiasms. Please also
send us a short summary of what you’ve been folding at the mini-meetings for the
If there isn’t a mini-meeting near you, start one! Ask any of the council or email the mini
-meeting organisers for hints and tips. And, of course, let us here at the magazine know
about your meeting and you’ll be added to the map.

british origami 41
BOS Council
Council Meetings are held quarterly every year. If you wish to bring up an issue with the
council, or stand for a council position, please write to the magazine editor or contact one
of the council members.
Future Council Meeting dates for 2012: February 18th, May 19th, August 11th and
November 24th. (Note: 11th Aug. is a change from the data published in the 2012

Council Members
President: Penny Groom • email:
Vice Presidents: David Lister • David Brill • John Smith • Iris Walker
Chair Mark Bolitho
General Secretary Tung Ken Lam
Treasurer Sue Pope
Librarian Pauline Trew
Magazine Editor Dennis Walker
Membership Secretary Penny Groom
Supplies Secretary Vignesh Cumareshan
Public Relations Officer Nigel Elworthy
Publications Officer Paul Hanson

Other council members: Michael Formstone, Paul Hanson, David Raynor, Saffiya Sheikh and
Sharon Turvey.

General Enquiries Membership Enquiries

General Secretary - Tung Ken Lam Membership Secretary - Penny Groom
22, Marlton Way, 2a The Chestnuts,
Lancaster, Countesthorpe,
LA1 5BW Leicester LE8 5TL
tel. 01524 62217/ +44 1524 62217 tel. 0116 2773870 / +44 116 2773870

Legal Details
All contents copyright the British Origami Society 2011 (Charity Number 293039). Contributions used by
permission and remain copyright of the contributor. We reserve the right to republish this magazine in
electronic form. No part may be reproduced, stored in a retrieval system or transmitted in any form ,
electronic (including the Internet), mechanical or otherwise, without the prior permission of the copyright
holders. ISSN 1745-3410

british origami 42
Hello again! Welcome to another ‘Increased’ magazine.

I’ve just returned from the Dutch Society Convention in Mennorode where I had a
wonderful time! I’ll write more about this in the next issue. Unfortunately this meant
that I missed you all at Birmingham, so I’m looking forward to seeing the photos and
hearing the stories from the convention. Again, there’ll be an article next issue.
On the subject of conventions, you’ll have seen in this issue that
September 2013 will be in Edinburgh! At last a convention in
Scotland. I hope to see many (if not all!!) of you in that beautiful
city. However it also prompted me to look out any Scottish or
Edinburgh related or specific models and there aren’t that many,
so please get your thinking caps on! There will be a competition
when I sort out the details. Meanwhile, there are Highland
cattle, thistles, Primula scotica and of course haggis to be folded!
For those of a more literary bent, Edinburgh has Robert Louis
Stevenson, Sir Arthur Conan Doyle, Sir Walter Scott and many
Primula scotica
others to fuel your interest.
Photo © Anne Burgess

However, before that we have Liverpool and the delightful

Tom Hull to look forward to. Any one fancy folding a Liver
In this ‘Increased’ edition we have more news, articles, the
solution to the crossword and some more diagrams, including
the crease pattern for the models featured on the May page
of your BOS Calendar!
Have Fun! Liver Bird
Dennis Photo © Chowells

Birmingham Model Collection

The Model Collection for the Birmingham convention is now
available in supplies.
In keeping with the Founder’s Theme, Nick Robinson has
plundered various older sources of diagrams including the BOS
Model Library and come up with gems! A few modern models
and a discussion of history round off the collection.
As a taster, one of the models from the collection, Wayne Brown’s
Ring Box, is included later!
british origami 43
Dib Dib Dib? No, Fold, Fold Fold! David Raynor

While many BOS members were enjoying the delights of Winchester in September at
the convention, I was running a stall at the 85th Gilwell Reunion at Gilwell Park on the
Eastern edge of London. Gilwell Park is the headquarters of the Scout Association and
the ‘Gilwell Reunion’ is like an adult-only Scout Jamboree for Scout leaders from all over
the country – even all over the world. There is a whole day of activities and workshops
where leaders can learn things to take home to their Scout groups to enhance their
programmes. The BOS was invited to hold a stall and I agreed to run it, since I am a
Scout leader myself and I wanted to try to boost interest in origami in general and the
BOS in particular.
Unfortunately, at the last minute I didn’t have a car that weekend, so I was limited to
what I could carry. As well as my tent, sleeping bag and clothes, I was able to take some
small BOS signs, my laptop, around 100 BOS leaflets, and also 100 copies of a small
booklet that I have produced. It is full of simple models that I have had great success in
teaching to Cubs and Scouts over the years that I have been a Scout Leader.
The day went very well, considering that I was on my own (due to the simultaneous
convention). I had been asked to give a presentation lasting around 1 hour at the start.
Sadly this was very poorly attended – only 8 people came along to watch it, but they
were treated to a history of origami and how children use it around the world, together
with hand-on folding experience with 4 simple models. I also showed them how they
could use the story of the sailor’s shirt / traditional newspaper boat as entertainment
around the campfire.
After that I was pretty busy, judging my how many booklets I managed to give away.
Many people said that I was hard to find, as I was in a corner of a large tent with such
small signage, but I probably couldn’t have managed many more visitors anyway. I
taught about 50 people in small groups throughout the day with models ranging from
boats to chickens to elephants.
I tried to advertise the benefits of being a member of the BOS as much as I could. I think
I had some interest, but I don’t know if it has led to any membership enquiries. I have
certainly not had any follow-up, despite giving my contact details to several people. I
think that if I could have had an exhibition of complex models I could have attracted
more people. I had a slide-show going on my laptop, of models that I had
photographed at conventions and people found them very interesting.
It’s a shame that this annual event is the same weekend as the BOS Autumn convention
as I suspect I could have had several other BOS members along to help. Perhaps if the
dates don’t clash one year I will try again. Many of the Scout leaders who go to Gilwell
Reunion go back year after year. I think if we could appear a few years in a row we
would gain ‘brand awareness’ and be remembered. Scout leaders are natural ‘crafty
people’ and are always on the lookout for new crafts for their youngsters to try so I see
them as a natural target for the BOS.

british origami 44
british origami 45
More Ori-News Collated by Dr. Simon Scarle
Folding Metal Robots Mens et Manus: Folded Paper
of MIT
Erik and Martin Demaine, Green Waterfall, 2011.

RoboFold founder Gregory Epps, 32, has

been folding metal since he was a
teenager. "The idea of industrialising
folding metal started about 16 years ago,"
he says, "but it wasn't until 2008 that I
turned it into a business." His patented
process uses six machines normally found
in car manufacturing plants. They gently
bend sheets of aluminium into shapes
hard to achieve through conventional
methods, to create decorative facades for
interiors. The south London-based
company uses computer-aided design to
develop a 3D mode The Fuller Craft Museum in Brockton,
Massachusetts, is currently holding an
exhibition of folds produced by the
origami community of MIT. The exhibition
is entitled “Mens et Manus”, Mind & Hand
being the motto of MIT. As described on
the Museums web-site: “Mens et Manus is an
introduction to the work of MIT students,
alumni, and faculty who have made the
school a hub for a stimulating community
of artists in folded paper.”
Origami with from an
Unpleasant Place
Origami butterflies made by a serial killer
are being sold on a macabre website.

british origami 46
Charles Ng is currently on death row in 132 5. by Issey Miyake
California after murdering 11 people in
1983. The notorious website, Dark Vomit,
is selling the set of two autographed
origami butterflies made by Ng in his cell.
Each is signed and comes with an
envelope on which Ng has written “To My
Best Friend Ever.” Yuch!
Jen Stark
Although obviously containing many cuts
These geometric folding clothes from
Jen Stark’s bright and colourful art works
environmentally friendly fabrics are the
should still be of interest to those in the
creation of fashion designer Issey Miyake.
Thanks to a collaboration with computer
scientist and Professor Jun Mitani, an
algorithm was produced that can create
unique 3D geometric shapes that can be
folded into 2D forms, which are then heat
pressed to become folded shirts, skirts,
trousers and one-piece dresses.

origami community. Each is made from

More can be seen at the ranges website:
stacks of brightly coloured paper, which
have been cut down through to reveal the
inner colours. More can be seen at her
website: New Record Distance
Joe Ayoob threw a paper aeroplane design
by John Collins, officially breaking the
world record by 19 feet, 6 inches. The new
world record, once verified by Guinness,
will be 226 feet, 10 inches.
The previous record of 207 feet and 4
inches was set by Stephen Kreiger in 2003.
Video of the flight can be seen at

british origami 47
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Fabric Folding
Joan Homewood found this shop on Etsy full
of folded items and particularly liked this
wallet. I noticed that the shop owner is based
in Edinburgh. Maybe I should contact her!

DNA folding
David Raynor sent in this link to the BBC website
about a technique called “DNA Origami” and how
it could be used to deliver drugs to a particular
area of the body. Looks like a job for Tom Hull’s
PHiZZ unit to me!
For more information about DNA origami and
it’s uses see

And Finally…..
The solution to the crossword . How well did
you do?

british origami 50
From February 2-4 we manned the BOS stand at
Craft4Crafters at Westpoint, Exeter. Judith, Sophia and
Sean attended for all three days and Joan Homewood for
two. We were teaching all day at the stand and sessions
were run in the teaching rooms. Much enthusiasm was
shown but I was amused at the comments we heard of ‘I
can do that’ by those looking at the display. Especially
when they were pointing at something that had not been
published anywhere at all – not even on line!
The only time we have any feedback of what we do is
when those joining let us know. Sean and Carole (who
unfortunately could not be with us this time) are two of
those who joined the society after coming to our stand a
few years ago and both being ‘local’ were duly recruited.
This time Sophia received the following email from one of
our visitors. The mouse mentioned was Eric Joisel’s Rat
folded by Sean.
“Thank you so much for making me so welcome at your Stand on Saturday and for
sharing your wonderful world of Origami. I finished my little circle when I got home
later and ordered some papers on-line this morning! And my tiny mouse that I totally
love (please thank the gentleman for me again) is installed on a safe shelf; I asked the
restaurant for an empty coffee cup and carried him around the Show in that.
If you still feel able to show me some more designs I would love to meet up with you; I
can't believe I had so little idea of what this craft can do. The flowers on your website
are beautiful.
Thank you again Sophia, I so enjoyed my day and your kindness and skill was a huge
part of this.”
Hiccius Docius— Ilan Garibi (p.4) Expressive Faces—Tom Defoirdt (p.16)

Pinecone—Beth Johnson (p.35) Modularis 27—Klaus-Dieter Ennen (p.26)

All Models folded by Kenny Dowson, Martin Quinn and Dennis Walker
Photograph: Martin Quinn