March–April, 2015

Paper Review #25: Roma Stone

by Ilan Garibi and Gadi Vishne
Edited by Sara Adams
paper

Our forth chapter in the Japanese section is even more unique. As its name suggest, Roma Stone (恠恷徙廱弸恷怛) aka French Marble
looks like marble and it is the heaviest paper we tested so far.
Manufactured in Japan, this is yet another contribution from Takeo to the origami community. As with the other Japanese papers, we
completed this review based only on the laboratory tests and our own hands-on experience.
You really need to think before folding with this paper. Which model most benefits from the texture - and can it be folded from 120gsm
paper? We realised once again that neither traditional models nor complex are good candidates, so this review will focus on the
intermediate models.

Properties
1. Thickness: The paper weighs 120gsm and has a thickness of 128
microns. For comparison, Sato Gami weighs 80gsm and is 126 microns
thick. This explains the stony feeling you get with this paper – it’s extremely
dense. Its weight to thickness ratio is 0.9375, Elephant Hide has a ratio of
0.815. The only paper with a higher density is Glassine, which is made to be
as flat as possible.
2. Sizes: You can find full sheets at 109.1cm × 78.8cm, as well as pre-cut
squares with a side length of 70cm, 35.6cm (14in), 35cm, 24cm or 23cm
(9in).
3. Colors: Four shades are available: grey, light grey, yellowish and light
yellowish. This collection of colours is highly suitable for the stony texture.
4. Paper Coloring or Colorability: As this paper is all about its texture, we
did not try to color it.
5. Texture: The names Roma Stone and French Marble (as it’s called on
origami-shop.com are true to the nature of the paper. It looks like marble, it
feels smooth like marble, and while it's not as dense as stone, it does give a
sense of high density. Each sheet is unique, as it is colored with a random
Picture courtesy of origami-shop.com
pattern of heavy, smoky clouds. The paper is probably only colored on one
side, as one side has livelier colors and the texture is vaguer on the reverse.
6. Photogenic: The paper is a real beauty. With the right light you can capture its special texture easily and present unique images.
7. Aging and Wear and Tear: Surprisingly, this paper scored in the area of 800, similar to Tant (which weighs only 75% of Roma Stone).
We do not have any experience with aging or color fading. 7 out of 10.
8. Memory: This is one of the paper's virtues. Creases are sharp and evident. The paper behaves almost like foil. 9 out of 10.
9. Forgiveness: In this respect, Roma Stone is one of the best papers we've tested so far. Reversing a fold is done effortlessly and
accurately. 9.5 out of 10.
10. Tensile Strength: We refer here to the maximum stress the paper can undergo while being stretched or pulled. In our tests we needed
almost 13 kg to tear it with the grain. The paper stretched by 1.7mm. Against the grain the numbers are less impressive - 6.6 kg before
it tore and it stretched by an incredible 12.2mm! 8 out of 10.
11. Bending Resistance: This section rates the amount of force you need to apply to get a sharp crease and how strong the paper is
while being curved. The results, 107 and 216, are just a little lower than those of Stardream (128 / 216), which has the same weight. 9
out of 10.
12. Price group: Moderate - fine folding - for showing in a monthly meeting.
13. Where to buy:
origami-shop.com (24cm, 35cm, 70cm)
origamishop.us (23cm / 9in, 35.6cm / 14in)
takeopaper.com (109.1cm × 78.8cm, delivery within Japan only)

Test results
Action model
Spring into Action by Jeff Beynon, 16×30cm
This model need a strong, springy paper, so Roma Stone seemed perfect for it. The paper got sharp creases
and it was easy to add the straight and diagonal fold lines. The same goes with reversing a fold line. While
collapsing the model, I noticed that thee thickness was becoming an issue and to close it well, I had to stretch
the paper. This was also the reason it didn't operate as nicely as I hoped it would.

Roma Stone is springy, but

far from perfect for action
models.
Tessellation
Pineapple tessellation by Ilan Garibi, 35×35cm
When folding the 26 division grid you immediately get the sense of this paper – it
is thick and strong. I highly recommend using a bone folder, I felt my muscles
when I finished. Reversing the long fold lines is a joy. The paper breaks on the
spot, but you still need to enforce the crease in the other direction, again, with a
bone folder.
Pre-creasing on the color side is hard. Due to its texture the fold lines are
camouflaged and hard to see. Each crease created a ridge on the reverse, so
there it was much easier to see all the creases.
Collapsing a thick paper can be disaster; thick layers interfere and shaping can
be prevented by low flexibility. This is not the case with Roma Stone, the first
phase of the collapse went in a blaze. The paper snaps into place and stay there.
The second phase is usually harder, as you have to gather many layers and all
inner molecules are hard to manipulate. Not with this paper! This may be the only Great for tessellations, it allows a fast collapse.
time ever I collapsed this model just by pushing in from all sides. With a little nudge here, and a finger there all molecules popped into place.
Amazing! It was done in less than five minutes, usually it takes me ten to fifteen!
Strangely enough, the finished model doesn't look as nice as after the first stage of the collapse. Before the second collapse there were
larger surfaces visible, which nicely showed of the paper's unique texture. After the second collapse it's not as evident anymore.

Modular/Unit Origami
Flowery Qube by Ilan Garibi; 6 units, 15×15cm
Simple folds like this model are done easily, but a bone folder is a necessity. I
collapsed the unit only after finishing all the precreasing, as it's hard to force a Roma Stone allows you to fold big and sturdy modular
new crease onto a folded model accurately. Shaping the bloomy part was easy projects.
and the paper with its extreme bending resistance keeps its shape like aluminium foil! When assembling the units, I enjoyed the stability that
is created by Roma Stone's thickness.

3D models
Squirrel by Hideo Komatsu, 20×20cm
Although the recommended size is 15cm, I used a larger sheet. It took me 15 minutes to finish it, with nothing slowing me down. The creases
are sharp and accurate, since this model has little layering. The final steps show the strength of the paper – it was very easy to shape the
puffy tail. I just had to make the right creases and the paper stood still in the last position I had put it into. The final model is highly stable and
beautiful!
 It's easy to do 3D shaping.
Sheep by Hideo Komatsu, 35×35cm
This is the first model I ever folded with Roma Stone. The paper suits the sheep
perfectly. The light grey color and the unique texture look just like sheepskin. The
creases are so sharp that they can be seen and felt easily. Roma Stone's
memory is almost like folding with metal, the paper stay in the position it's put,
jumping back only very little. On the down side, once layers add up - even just
four - the paper's thickness becomes a problem. Reversing folds was not as
easy as I anticipated. The same goes with the closed sink step – I thought it
would be easy and on the spot, but while reversing you have to look for the
crease line on the other side to make sure it breaks there.
Step 92 asks for manipulation of 12 layers, and this is too much for the paper. It
is impossible to keep all edges aligned.
The lock is very strong, and the final model stands firm. I am very happy with the
results. Roma Stone is a paper for low complexity models.

Crane by Eric Joisel, 19×19cm; Pegasus by Edward McGrath, 15×15cm

This is a 3D variation on a very classic model. Joisel used some unique
techniques to create the 3D parts and paper with a high bending resistance is
perfect for these folds. Roma Stone reacted beautifully, even on the neck with its
many layers. Shaping the details in the last steps was done with ease and to my
utmost satisfaction. There is no need to wet the paper to get the right curves.

It's easy to achieve curves and volume.

Skull by Hojyo Takasi, 35cm×35cm; folded by our young expert, Ynon Toledano
This is a very strong paper, and no added strength (with MC, for example) is needed. I liked the way the creases form – sharp and easy to
reverse. I also liked the texture that goes really well with this model; grayish white, with a look similar to marble. I managed to shape the skull
easily.

Final verdict
This is the strongest paper we tested so far. With 120gsm it is as heavy as Stardream, but it feels much stiffer. Add this to the unique texture
and you get an extraordinary paper, suitable for more models and genre than you would expect.
3D models and intermediate to low complex are perfect candidates. We all loved the results we could achieve with such models and
enjoyed especially the shaping part – it is just like folding foil. Tessellations, if not too small or overlapped, will benefit from the stiffness and
springiness of Roma Stone.
We even got good results with modulars, with no more than 10 units, though. The paper is too strong to fold 30 units in a row, but if you want
to have a BIG Sonobe ball, that will hold its weight and stay firm – this is the
paper for you!
We didn't even try to fold complex or simple models. There is no need to waste
time or paper on such attempts, which are doomed to fail. We also skipped the
wet folding test, since we could get the same results without wetting the paper.
Our flickr search reveals how much under the radar this paper is, I only found two
models, which are folds of 3D animals. Perhaps that will chance after this review.

Why should you buy it?

When marble-like texture and unique strength are needed, this is the perfect
paper. Yes, the color palette is limited, but for the right model, this paper is on the
spot!
Bottom line: beautiful and strong!

The texture can really complement models!

Thickness Color Tensile Bending Price
Paper Size Texture Aging Memory Forgiveness
(gsm) palette Strength Resistance group
109.1cm × 78.8cm; 23cm,
Roma Stone 120 4 Like marble Unknown 9 9.5 8 8 3
24cm, 35cm, 35.6cm, 70cm
109.1cm × 78.8cm; 15cm,
Golden River 81 19 Leather look Unknown 9 9.5 8 7.5 3
23cm, 24cm, 35cm, 70cm
109.1cm × 78.8cm; 15cm,
Biotope 60 18 Solid, slightly rough Years 9 9.5 6 6 3
24cm, 35cm, 70cm
93.9cm×63.6cm; 15cm,
Karaperapisu 42 4 Iridescent Unknown 9 8 4 4 4
30.5cm, 40cm, 60cm
Many
O-Gami ~25, ~85 55.9cm×71.1cm 32 Handmade 9.5/9 9/7 9.5 9/7 5
years
Clean Room 66 Limited Smooth Unknown 9.5 9 6 7 3
US letter, A3, A4
Paper

Fine Linen, New

Many
Efalin 115 70cm×100cm 24 Linen, Crash, 9 8 9.5 7 3
years
Smooth
varies; e.g. 45cm×45cm, Many
Lokta ~50 Many Handmade 6 7.5 9.5 6 4
50cm×65cm years
Many
Bible 35-50 B1, A4 white Smooth 7 7.5 8.5 6 2
years

Sato Gami 80 15cm, 35cm, full sheets 6 Rough and Fibery Unknown 9 9 7 8 4
10cm, 15cm, 20cm, A4,
Glassine 40 11 Smooth Unknown 9.5 6 8 4 3
70×100cm
Many
Unryu 27 40cm, 60cm 10 Hand-made 7.5 8 10 5 4
years
Skytone 90, 176 A4, 63.5cm×96.5cm 12 Smooth, marble-like Unknown 8 9 7 8.5 3
Many
Kami 60 7.5cm, 15cm, 30cm 200+ Smooth, a bit shiny 8 8 7 8 1
years
5 (previously
Ingres 90 B1, B2, A4 Rough Years 8 8 7.5 8.5 2
21)
Nicolas Terry 15cm, 20cm, 30cm, 40cm, Glittery; handmade
50 8 hues Unknown 8 8 9 8 4
Tissue Foil 60cm look
Many
Onion Skin 35 A4; Letter; 84.5×64.4cm White Cockled 8 5 8.5 5 2
years
15cm; 30cm; 48cm; 35cm; Smooth and a little
Kraft 35 Light brown Unknown 9 5 8 4 1
40×60cm shiny on one side
28 hues, plus Less than
Crumpled 48-51 64cm by 64cm Bumps 8 6 4 4 2
12 pearled a year
110-340
Stardream (120 tested) 72cm by 102cm 33 hues Smooth and sparkly Years 9 9 7 9.5 3

Origamido 10-100 Varies Many 5 to 9 6 to 8 10 2 5

40cm by 50cm and more Very broad
years
50-120 (80 A0-A7, B and C equivalents, Mainly white, Few
Printer Paper smooth and dull 7 9 4 4 1
tested) ANSI. Many others but many colors years
various from 3cm up to 50cm Many
Japanese Foil 50 12 colors smooth and shiny 10 4 5 6 1
squares years
7.5cm; 15cm; 30.5cm; Many
Tant 78 100 colors Mildly rough 9 8 6 5 2
35cm; 110×80cm years
Many
Elephant Hide 110 A4; 70cm×100cm 7 colors smooth 10 7 10 10 3
years

Paper Classic Action Tessellation Complex Modular 3D Wet Folding Final score
Roma Stone n/a 7 9 n/a 8 9.5 n/a 9
Golden River 8 n/a 8.5 6 8.5 9 n/a 8
Biotope n/a n/a 8.5 9 9 9 n/a 9
Karaperapisu n/a n/a 8.5 9 n/a 9 n/a 9
O-Gami n/a n/a 9 8.5 n/a 9 8.5 9-
Clean Room Paper 8 10 9 6 6 10 n/a 8
Efalin 7 9.5 9 5 6 9.5 9 8
Lokta n/a n/a 7 8 n/a 8 n/a 8

Bible 8.5 7.5 8 8.5 6 8 n/a 8

Sato Gami 8 9 9 6 9 8 n/a 8.5
Glassine 8 8.5 9 7 9.5 7 n/a 8
Unryu n/a n/a n/a 9 n/a 9 n/a 9
Skytone 8 8.5 9 9 9 9 8.5 9
Kami 8.5 8 8 7 9 7.5 7.5 8
Ingres 7 8.5 8 7 7 8 8 7.5
Nicolas Terry Tissue Foil 9 8.5 8.5 9.5 8 9 9.5 9+
Onion Skin 8 8 7.5 8.5 6 8 n/a 8
Kraft 8 7 8 9 6 8 n/a 7.5
Crumpled 8 7.5 8.5 8.5 7 8 n/a 8
Stardream 8.5 8.5 9 7.5 7.5 9 9 9
Origamido 8 7.5 7.5 9.5 n/a 9 n/a 9
Printer Paper 7.5 7.5 6 5 6 6.5 n/a 6
Japanese Foil 9 9 6 8 8.5 8 n/a 7
Tant 9 8.5 9 8 9 8 7.5 8
Elephant Hide 8.5 9 10 8 8.5 9.5 9.5 9.5
 Crape Jasmine

© Copyright 2010 by Narong Krained

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© Copyrights [2010] by [ NarongThis
Krained ] was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
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 Tab
Pocket

30 Unit

© Copyright 2010 by Narong Krained

theFOLD
© Copyrights [2010] by [ NarongThis
Krained ] was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
document
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 March–April, 2015

The Incomplete Guide to Origami Games

by Ilan Garibi
Edited by Linda Yau
convention challenge

Typically the sun has already set, and people are tired after hours of folding. I had just attended my 14th convention – the 2nd OASIS
convention – which I helped organized. From these conventions I learned many paper games meant for late night folding activities. This is
the perfect time to fertilize and reinforce the foundation seeds of our own folding skills. What kind of late night origami games and activities
are out there?

Here is a list that I gathered and developed from my own experiences on 14 occasions. Unless indicated, these games are meant to be
played with lots of participants. A little competition also never hurts anyone and raises folding to another level. Expect lots of screaming,
laughing or other emotions.

For lone folders:

Captain Hook
Be the first to fold a model by using only one hand.
1. Folding level of players: All.
2. Models to use: All known traditional models, such as a Crane, Flapping Bird, Water Bomb and others.
3. Variations – Don't use your dominant hand; fold in the air only.
4. The winner is chosen according to timing only or quality of folding and speed!

Captain Hook, Oasis 2nd convention. Image by Yael Meron

Behind your back

Be the first to fold a model behind your back.
1. Folding level of players: All.
2. Models to use: All known traditional models, such as a Crane, Flapping Bird, Water Bomb and others.
3. Note: While your hands are behind, you need to switch direction in your head!
 4. Variations – Use a new, unknown model, so the participants will fold it for the first time ever - behind their backs!
5. The winner is chosen according to timing only or quality of folding and speed!

Behind your back, Oasis 2nd convention. Image by Yael Meron

In the Dark!
Be the first to fold a model blindfolded.
1. Folding level of players: All.
2. Models to use: All known traditional models, such as a Crane, Flapping Bird, Water Bomb and others.
3. Note that this game is not the same as Behind the Back!
4. The winner is chosen according to timing only or quality of folding and speed!

Two are better!

Be the first to fold two models at the same time; one in each hand.
1. Folding level of players: Complex.
2. Models to use: All known traditional models, such as a Crane, Flapping Bird, Water Bomb and others.
3. Note: The ability to fold two models at the same time is a skill only a few in our community have mastered!
4. A simple variation asks for the same model in both hands: models such as Fortune Teller or a water bomb. For more advanced players,
ask for two different models!
5. The winner is chosen according to timing only or quality of folding and speed!

Table manners
Meant to be played as a challenge around a dinner table – Fold the crane with a knife and fork.
1. Folding level of players: All.
2. Models to use: All known traditional models, such as a Crane, Flapping Bird, Water Bomb and others. No sink folds!
3. Models with reverse folds are a real challenge!
4. There is no winner; all are entitled to dine!
 Fork and knife, Oasis 2nd convention. Image by Yael Meron

Chinese style
Meant to be played as a challenge around a dinner table – Fold the crane by using two sets of chopsticks
1. Folding level of players: All.
2. Models to use: all known traditional models, such as the Crane, Flapping Bird, Water Bomb and the like.
3. Note: Surprisingly, this is not hard if you can eat with chopsticks. If you don’t, try this or try another game.
4. There is no winner; all are entitled to dine!

Captain Hook–san
Meant to be played as a challenge around a dinner table – Fold the crane by using one set of chopsticks
1. Folding level of players: Complex.
2. Models to use: simple models.
3. Note: Pajarita was the one I managed to do. Even in my own experience, it was difficult for me. It takes about ten minutes to fold a
crane!
4. Anyone who succeeds gets a specific medal or bragging rights!

Feet folding
Be the first to fold a model with your feet.
1. Folding level of players: All.
2. Models to use: all known traditional models, such as the Crane, Flapping Bird, Fortune Teller or the Pajarita. Action models are better,
as the task includes operating the model!
3. Note: Use 25 – 30 cm paper on a floor without carpet.
4. The winner is chosen according to timing only – it’s way too hard to get a quality model with your feet.
 Feet only, Oasis 2nd convention. Image by Yael Meron

Speedy Gonzales
Be the first to fold an unknown model; seeing the diagrams for the first time with slides – every slide has one step and stays on for three
seconds only.
1. Folding level of players: All.
2. Models to use: any 20 – 25 steps are best. Playing this game, folders usually can keep up until the tenth step, when there is a mental
overload, and folders tend to lag. From there, some folders stop folding and just look at the slides, and must fold the last steps from
memory only.
3. Aid – projector.
4. The winner is chosen according to timing only or quality of folding and speed!

I am an elephant!
Be the first to fold from memory only.
1. Present a 10 step model in slides; every step is shown for three seconds, and after the last slide one can start to fold.
2. Folding level of players: All.
3. Models to use: 10 – 12 step models are the best: not too short, not too long! Choose a simple, unknown model, preferably an elephant.
4. Aid – projector.
5. The winner is chosen according to timing only or quality of folding and speed!

Say, What?!
Folding with unusual materials, such as fabrics or plastic sheets.
1. One must fold traditional models from hardly fold-able materials, such as plastic sheets, fabrics, Foil or very thick cartons.
2. Folding level of players: All.
3. Models to use: all known traditional models, such as the Crane, Flapping Bird, Jumping Frog or the Pajarita. Action models are better,
as the task includes operating the model!
4. The winner is chosen according to timing only or quality of folding and speed!

The far side!

Folding with unusual papers such as grocery bags, toilet seat covers etc.
1. The participants must design a model using unusual papers in their original state - like toilet seat covers, paper bags and other
everyday things. The medium is not revealed until the competition begins, the time is limited and you are folding in front of an audience.
2. Folding level of players: above average.
3. The winner is chosen according to originality.
(Thanks to Meenakshi Mukerji for adding this game.)
 Folding with toilet seat covers, PCOC 2009, San Francisco. Photo credit: Hank Morris

For two or three folders:

Helping hands
Be the first team to fold a model by using each other's right hand only.
1. Folding level of players: All.
2. Models to use: 15 – 20 step models are ideal. Choose a well known model, one from the classics.
3. Cooperation is the name of the game here.
4. Variations – You can use most of the options presented for single players here, too. I am not sure if using only a fork while your partner
uses the knife will work…
5. The winner is chosen according to timing only or quality of folding and speed!

Read my lips!
Be the first team to fold a model by verbal instructions only.
1. Folding level of players: All.
2. Aids – printed diagrams.
3. Only one player can see the instruction and guides the other by oral instruction. No miming is allowed! The instructor must sit behind the
folder.
4. Models to use: 15 – 20 step models are Ideal. Choose an unknown model, printed on paper.
5. The winner is chosen according to timing only or quality of folding and speed!

Look at me!!
Be the first team to fold a model by mime instructions only.
1. Folding level of players: All.
2. Aids – printed diagrams.
3. Only one player can see the instruction and guides the other by mime. No oral instructions are allowed!
4. Models to use: 15 – 20 step models are ideal. Choose an unknown model, printed on paper.
5. The winner is chosen according to timing only or quality of folding and speed!

The three monkeys.

Be the first team to fold a model by oral, then mime instructions only.
1. Folding level of players: All.
2. Aids – printed diagrams.
3. This game is for three players – one reads the instruction and guides the second by oral, whispered instruction. The second guides the
third (the folder) by pantomime only.
4. Models to use: 15 – 20 step models are ideal. Choose an unknown model, printed on paper.
5. The winner is chosen according to timing only or quality of folding and speed!

The tallest cat

Fold the tallest cat from a set strip of paper.
1. Folding level of players: All.
2. Aid – a strip of 50 cm by 200 cm paper Cat diagrams, by Roberto Gretter and Ioana Stoian
3. In groups of three, try to fold the tallest cat. This design allows you to change the length of the body and the tail, so each group can
decide on its parameters and see if it works.
4. Models to use: 15 – 20 steps models are ideal. Choose an unknown model, printed on paper.
5. The winners are those who create the tallest cat that can stay up for more than a minute.
6. Note: I first played this game at the by Outdoor Polish convention
 Tallest cat, Plener 13th convention. Image by Krystyna Burczyk.

For big groups

Pictogami
Having a good time together, while trying to speed-design objects.
1. Folding level of players: All.
2. Aids – hat, sticky notes, pen, and a 15 cm Kami package.
3. Each player writes one word on two pieces of paper and puts them into a hat. It is best to limit the game to objects only. The first player
takes one note and must fold it from paper. The right guesser takes the next note.
4. There is no need to be accurate or precise – just try to provide the most important characteristics of the object with simple folds.
5. Folders are not allowed to choose their paper color!
6. There is no winner in this game. This activity is meant for all to enjoy being creative and interacting with friends.

Pictogami - reversed
Having a good time together, while trying to speed-design objects.
1. Folding level of players: All.
2. Aids – hat, sticky notes, pen, and a 15 cm Kami package.
 3. Each player writes a single word on two pieces of paper, and puts them into a hat. It is best to limit the game to objects only. The first
player takes one note and sticks it to his/her forehead. All players try to fold it from paper, and the picker must try and guess this word.
The person to fold the identified model takes the next note.
4. There is no need to be accurate or precise – just try to provide the most important characteristics of the object with simple folds.
5. Folders are not allowed to choose their paper color!
6. There is no winner in this game. This activity is meant for all to enjoy being creative and interacting with friends.
7. This version was created by Guy Loel (Israel)

Express yourself in folding, Oasis 2nd convention. Image by Yael Meron

Mass design
Design by a group.
1. Folding level of players: All.
2. The subject of the design is announced at the beginning. The first person makes one crease and gives it to the next one. Each
participant adds a new crease until the model is finished.
3. There is no winner in this game. This activity is meant for all to enjoy being creative and collaborating with friends.

The knights of the round table

Competition during dinner time.
1. Folding level of players: All.
2. Group/round table folding – fold the crane; each person makes one crease and moves it forward. Compete against a nearby table.
3. Each folder makes one crease. Reverse folds are considered as one fold.
4. You can spice up this game, and integrate other challenges from the lone folders portion in this article, such as every one uses only fork
and knife, or folding with the left hand only, etc.

What is your game?

I am sure there are many more games. Please submit a comment at the end of this article or write to me if you have some games to add to
this guide! >garibiilan@gmail.com -Ilan Garibi
 Duck
- Milind Oka, India

1 2 3

° ° °
°
°
° °

° ° °
4 5 6

°
° 30°
°
°
One layer. Angle bisector.
°
Swivel Fold.
Repeat behind. ° Repeat behind.
Inside reverse fold.
Repeat behind.

Outside reverse fold. 8 9

Inside reverse fold.

The result

Spread the tail and fold the flap inside the model
by narrowing the tip.
°
10 ° 11 12 13
°
°

Outside reverse fold. Inside reverse fold. Make the beak.

© Copyright 2014 by Milind Oak

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 14 15 16

Only upper layer.

Wing will be 3D

17 18 19

20 21

© Milind Oka
(April - 2014)

© Copyright 2014 by Milind Oak

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 © Copyright 2014 by Milind Oak

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 © Copyright 2014 by Milind Oak

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 March–April, 2015

Origami Designer's Secrets: Alessandra Lamio

by Ilan Garibi
biography interview diagrams high intermediate

Alessandra in the company of a very special assistant, during a conference at the Italian convention
“Origami, Educational Dynamics and Didactics”.

image by Ursula Zich All noncredit images by Alessandra Lamio

“Woland”, a character from the book “The Master and Margarita”.

Model designed for a competition about easy origami from triangles.
My cat Tigrotto playing with Alfredo Giunta's fly, folded in 2010;
this was one of the first experiments with new kinds of paper that I discovered in that period.
Rarely you got the chance to follow a designer from his first step forward. This is the case with Alessandra and me. We met in the 2010
CDO convention, a first for both of us. Then, I was the teacher, and she was an eager student. Five years later, and now I sit to study from
her, to fold some of her innovative models. Her story is revealed in her detailed answers to my nine questions.

Who is Alessandra Lamio?? Please tell me in 5 sentences what I must know about you.
Alessandra: I'm an origamist. I say this with the passion of the artisan who has finally found, after many experiments, the medium through
which best express himself. I affirm this with the fascination of the enthusiast who continues to find new interesting aspects in the field he
loves. Above all I tell this to myself as a wish and a hope and this is very important for me, because I believe that the desires are as
important as the facts to define a person. I still have a lot to learn and a lot to do, but I could not imagine a better path.

What is origami to you? Why are you interested in origami? What was your first model to fold? Can you say origami
changed your life in anyway, or is it just a hobby?
Alessandra: Origami for me is a very versatile tool that allows me to involve myself in different fields of interest at the same time: it can be
used in teaching and as a therapeutic tool; it has an artistic and creative side, when you fold or create new models; it may resemble a logical
game when you try to decipher a CP or overcome a difficult step in a diagram; it's a great way to communicate and meet with new people; it
allows you to relax and discover your limits, seeking strategies to overcome them.
AI discovered origami as a child, during a summer vacation, when in a flea market close to the beach I found a book containing a strange
mix of traditional models, complex models, recipes for soap bubbles, tales... I fell in love at once and for some summers I spent a lot of time
folding. In the following years, I ignored this activity, if not occasionally, until in early 2010 I stumbled by chance in a website concerning the
therapeutic use of origami. I studied medicine and finding out that there was a link between the two areas that I had always loved was like an
epiphany: I began inquiring about it and studying everything I could find on the subject, and in a short time I also discovered the works of
artists such as Eric Joisel and the existence of beautiful papers that would allow me to overcome the significant constraints of copy paper
that I was accustomed to use with struggle until then.
Beautiful frenzied months followed, leading to the foundation of a cultural association called Educarta (Edu = education and Carta = paper),
to spread in my city the use of origami as a teaching and therapeutic tool. Since then my life has changed radically, and 18 months ago I
decided to leave the other jobs I was doing and work full time with origami.

What ignited your creation process? What happened that turned you from a passive folder into a creator? Do you
fold other people models nowadays? If so, do you have a favorite designer? What is the source for your new
ideas?
Alessandra: I've always been attracted by the creative aspect of origami, but I began creating my own models only after a few lucky
encounters during some conventions. At the beginning it was mainly a matter of finding the courage of attempting to create something and
not a technical problem, it looked to me as a fascinating thing, but so difficult and far from my capacities. During my first CDO convention, in
2010, I had the luck of meeting you (Ilan Garibi), who taught me the first tessellations and the extremely important concept that errors can be
also seen as the beginning of creating something new. Since then, I started experimenting, and a few months later, at the AEP convention in
Madrid, in spring 2011, I enjoyed many long discussions with Pasquale D'Auria and Herman Van Goubergen; I wanted to understand how to
proceed to create a new model, and for days I pestered them with questions on this topic. In particular, I remember that Herman told me
about some aspects he find important in the creation process, and I realize now they became key points for me too: trying not to waste
paper, using as few layers as possible, and asking me why I want to create a specific subject, if it's to express an idea or to focus on some
aspect of the figure... and if I'm really interested in creating the n-th origami version of a given animal without having my personal point of
view to express about it!
Even after I started to create my own models, I still like a lot to fold models by other authors, although now I dedicate less time to it. I usually
prefer folding models of completely different kinds than the ones I'm used to create, as complex ones with very long sequences; usually what
I like most is the process and the relaxing time spent folding, instead of the finished result, and it often happens that I leave them a few steps
before the end, before the final shaping. My fingers especially love the nice and pleasing sequences of some authors as Roman Diaz and
Hideo Komatsu; there are many other authors that I love for different reasons, but these are the ones I prefer to fold.
On the other hand, when it comes to creating a new model, it's very rare that it starts from the works of other origamists, rather I usually try to
avoid seeing pictures of similar models until the project is completed... this is useful because it forces myself to try out personal solutions to
details that were already studied and interpreted by many other authors, but at the same time there's the risk of rediscovering models that
were already published long before, especially with tessellations and geometric models.
 Fresh is the right word to describe your works. It seems that you
manage to surprise us with new concepts. As I go through your
flickr page I see a small variety – mainly tessellations and
geometric models. Why did you start with those? Do you try to
create also figurative models? How do you choose your next
designed model?

Alessandro Beber and me with Hideo Komatsu's giraffe,

folded from a 450cm square of Fabriano paper,
180 gsm, for an exhibition in Turin.
Image by Anna Ippolito
Alessandra: Most of my models published on flickr are geometrical
mainly for a banal technical issue: with my small camera and my poor
photography skills, I find it easier to obtain a satisfying picture of a
model with straight lines, which does not require specific shadows or
perspectives to be understandable. And most of all, it's easier for me
to fold a rendition which makes me sufficiently satisfied to consider it
good-enough-to-be-published.
When thinking about the models I designed in the last few years, on
the other hand, I realize that most of them are figurative, but they are
mainly unpublished, with some of them shown only to very few close
friends.
This kind of models, which are usually less technical and can be
composed by just a few folds defining a volume, is the most intimate “Corrugation 5:2”, folded from a 30x70 cm red Stardream paper.
part of my work, and I have difficulties in showing it to others, also
because it's hard for me considering these models tcompleted... each rendition is different, it adds or changes small details, and it's always
possible to find another rendition which looks better than the previous one!
The inspiration may come from a book or a painting, from someone's request, from the desire to create a present for someone I love or from
a dream; it's really hard to say where the ideas for new models come from, because each one has its peculiar history.
You are a young designer. You have just started to create, and everything is still fresh in your head. Try to explain to
us your process of creation. Do you see the finished model in your head first? Or is it trial and error? Do you use
CP to refine your models?
Alessandra: Depending on the type of model, the creation process can be
very different. In the case of figurative origami, I usually start by thinking to the
subject that for some reason I decided to portray, I look at some photos of the
original, and then I try to imagine it in a simplified form, composed only of
volumes, shadows and a few essential details that characterize it. Then I try to
"wrap" the paper around this ideal image and to understand which folds are
needed to make the desired volumes; if necessary, I work separately at
some details and then I join the different parts considering the correct
proportions.
Tessellations come usually from a fold that fascinates me or that I find
particularly amusing, as the crimp-fold; they are often awkward to fold and
their realization is for me like a game in which I fight with the sheet as in a “Crimpellation of squares and diamonds”,
wrestling match to persuade it to satisfy my desires. If in the end they show a tesselation formed only of crimp-folds,
volumes and interesting shadows, then I consider the job well done and I take from a single 35 cm square of Fabriano paper, 220 GSM.
note of the sequence, otherwise their life ends in that moment of fun.
Some geometric models, such as vases and various boxes, were born playing with structures or polygons fascinating as pentagons, without
having a defined project in mind; in other cases, such as the recent series of models based on the optical illusions of Escher, I started from
the vision of a very precise idea and the creation process was similar to the one that I usually apply for figurative models.
Lately, after a model is finished I try to think about a folding sequence or, if possible, I draw the cp with Oripa. In this manner I try to better
understand the model and evaluate other aspects that I had not considered during the creation phase, which is for me more instinctive.
Another aspect that I really like is to try to create models in collaboration with others; this is a very uncommon practice in the world of
origami, but extremely interesting and useful. This is why, starting from last summer, Alessandro Beber and me organized a
convention/vacation in the Italian Alps that had this among its main purposes Mountain Folding.
What papers do you usually use? Why? How do you decide what paper to choose? Do you try to match the paper
to the model?
Alessandra: Generally, I prefer to use heavy papers with a rough surface, and I believe
this is strongly connected with the kind of models I usually create. This kind of papers
gives me a pleasing tactile feeling, my fingers are always happy to fold it, and therefore I
try to create models that are foldable with these; on the other hand, I'm mostly interested
in creating models using few layers of paper, with good volumes and playing with
tensions and shadows, for which heavy and rough papers are best-suited. Obviously,
depending on the properties of the model, I can choose different and thinner papers, or try
unusual combinations, as paper coated with felt or fabric. Usually, when I begin thinking
on a new design, I immediately visualize it with a specific texture and then I try to find the
material best matching this idea. During origami workshops in kindergartens, I prefer
“Dogs in love” colored copy paper because it offers greater resistence than traditional kami and it helps
Image by Alessandro Devinu the kids enhancing their fine motor skills; this is also my favourite paper for doodling with
new ideas and folding prototypes of my new designs.

Do you have a motto in your life? Is origami part of that motto? Is there a message in your art?
Alessandra:It's not really a motto, but I believe in what I call GMB, "Breton good mood". I
believe that if you want something with great intensity (and of course you are prepared to
make serious efforts to obtain it) many favorable opportunities can easily arise for moving
toward that direction. The name came for kicks during a holiday in Brittany with a friend,
to indicate positive and surprising effects of a fair amount of light-hearted optimism.
GMB is also the name of the first complete model that I invented, a spinning top inspired
by the initial folds of Chris Palmer's Flower Tower. One day, for some personal reasons, I
decided that it was the right time to commit myself seriously to create a new model and I
sat down at the table with the intention of not getting up until I had reached a satisfactory
result; the model arose from my fingers even before I decide what I wanted to fold, with a
surprising ease and a speed that I never experienced again... and I was very happy that
GMB this was also my first model published, accepted for Tanteidan Book 20: I usually say
jokingly that this is an irrefutable proof that my theory is correct and it works!

I am sure there is one model of yours that you would like to point out for us. Which one is it, and please tell us why
you chose it?
Alessandra: Among all the models that I invented, the one I'm most fond of is an
unfinished that accompanied me for years. It's called "the rebirth of Ophelia" and it
represents a female figure that rises from the paper. Over time I tried many solutions for
the face of this figure, some more technical, others more minimalist, but none of them has
ever stood out as the final one or satisfied me for a long time. I think it's because this
model is in some way a representation of myself, and my identity, both as origamist and
as person, is constantly evolving and it does not identify with something fixed.
Ophelia is part of a series of models called "Escape from the Flatness" which consists of
figures that emerge as bas-reliefs from the open flat sheet, with only a few essential folds
to define a volume and represent an idea.

Is there one last question I should have asked? Ask yourself, but don’t
answer. Just let us know what is the question …
Alessandra: What is your next pipe dream that you want to turn into a project to make it
real?

The Rebirth of Ofelia

Imgae by by Alessandro Devinu
Name Alessandra Lamio

Place of residence Pavia, Italy

Profession origamist

Email alelamio@yahoo.it

Website Click here

Diagrams!
To really know a designer, you must fold her models. Here are the diagrams
for Square Spaceness.
Click here to download the diagram.
-Ilan Garibi

Square Spaceness, inspired by Escher's optical illusions.

Folded from a 70 cm square of Canson paper, 220 GSM.
 SQUARE
SPACENESS
By Alessandra Lamio

Square Spaceness was

created in November 2014
when I wanted to give Escher’s
optical illusions an origami
form, as a gift for a friend. I was
playing with modular Penrose
Triangle by Alessandro Beber
and I tried to put the structure
on a single sheet, replacing the
color changes with volume
changes.
You can fold it with paper of
any weight, as long as it has
enough stiffness.

This is the model basic pattern.

If you are not accustomed to
read cp, you should start
folding a grid of 16 x 16 and
mark the folds showed in this
picture to understand how the
model works.
The thick solid lines indicate
mountain folds and the thick
dashed ones are valley folds.
 In order to have a cleaner
model, is better to fold only the
few essential lines draw in this
picture than the whole grid.
On the rim of the sheet,
oblique folds have been
added allowing the outer
frame to flatten, considering
than the central square is
supposed to be deeper than
the frame of the model.
Note that these folds are
perpendicular to the oblique
valley fold from the ends of
which they originate.

Finally, It’s possible to add the

mountain folds in the centre
and the locks in the rim, in
order to improve the stability of
the model and prevent it to
reopen.

This structure can be adjusted

to fit various polygons
modifying the angles in the
locking areas at the vertices.
Here you can see the example
of a triangle, but you can have
fun exploring different
possibilities.
 Hadi Tahir
Bandung, 11.11.2013
http://haditahir.wordpress.com

1 2 3

6 5 4

6a 6b 7

10 9 8

© Copyright 2013 by Hadi Tahir

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 rasio kertas
dan
model jadi

20 19

16 17 18

15-17

15 14 13

11 12 12a
7-11

© Copyright 2013 by Hadi Tahir

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
Lucia
(c) Ekaterina Lukasheva, 2010. www.kusudama.me

1 2 3

Make two little marks

4 5 6

7 8 9

Repeat the same

with the other side
© Copyright 2010 by Ekaterina Lukasheva

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/
 10 11 12

Repeat 10-11
on the other side

13

Pocket

Flap

Complete unit

Two connected units.

You can use the unit as the
universal unit for various spikes.
To make the icosahedral 30-unit spike
make so that 5 units meet in the point
marked with star and 3 units meet
in the point marked with the triangle

© Copyright 2010 by Ekaterina Lukasheva

theFOLD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
If you did not obtain this document from The Fold’s website, you may have infringed upon the author’s copyright.
This document can be obtained legally by joining OrigamiUSA online at http://www.origami-usa.org/