Contents

1 Cartoon Doghead Dennis Walker

2 Landmarks Mark Bolitho/Thea Anning
5 Review: Cut and Fold Techniques Paul Jackson
6 BOS at the NEC Hobbycraft Show Tony O’Hare
8 Shades of Origami Ray Bolt
10 Going Walker-bout Dennis Walker
12 Rif Rif Bird Robert Lang
14 The Paperfolder’s Life List.. Mick Guy
16 Pelicano Patricio Kunz Tomic
18 Review: Origami Home Mark Brafield
19 Paper Review #24 Ilan Garibi & Gadi Vishne
22 Leaf Beetle Lee Armstrong
25 Nice to meet you Hans Werner Guth
26 Eifel Unit Hans Werner Guth
28 Ori-News Simon Scarle
30 Meet the Council
34 Broken hearts Emily Monaghan
36 Review: Drawing Origami vol. 1 Nick Robinson
37 Cover Story Ariel DeAndrea
38 Letters
39 Mini Meetings
40 Council Data
41 Origami Toon Halle

In brief
We are always looking for more diagrams, articles, Cover : Crane #10, an oil painting by Ariel DeAndrea
reviews, mini-meeting summaries, gossip, cartoons, (and you can buy the original, see p37). Thanks to all
puzzles and anything else origami-related. Submissions contributors and proofreaders Ray/Mark/Clare for this
are appreciated but may be edited for length and/or issue. Aux MFPP; l’éditeur, il est Charlie!
clarity. Sadly, not all submissions may be used.
Please Contribute!
Please send news items to news@britishorigami.info and Your magazine is always looking for news, reports,
all other items to editor@britishorigami.info or by post to articles, photos, reviews and diagrams. Ideally plain
182 Mountview Road, Sheffield S8 8PL text or Word format, but
PDFs are also accepted.
For diagrams, please complete the permissions form at Photographs in any format,
www. britishorigami. info/society/magazine. php preferably colour and as high
The electronic version is available for download to a resolution as possible!
members shortly after the printed version is mailed. If Submissions deadline is 8
you have forgotten your login details, please email your March for issue 291.
name and membership number to Penny.
1
Landmarks
Welcome back
To all of you reading this, welcome back
to the society, thanks for renewing your
subscription for 2015, or if you are a new
member, thanks for joining. Hopefully you
will enjoy the benefits of membership and
be able to participate in the activities of the
Society, whether by attending a convention,
or mini meeting, using the library service,
or writing something for the magazine.
The society works through sharing and
participation, so do please get involved.
We aim to make the society as relevant as
possible in its contribution to both the British
and the worldwide origami community.
However, we can always improve. If you have
any ideas or feedback on things we could do
better, please let us know. Any compliments
on what we get right are also appreciated by
the team of volunteers that run the society.
Spring convention
The Spring 2015 convention will once be
held at The Campanile Hotel, Chester Street,
Aston, Birmingham B6 4BE. It will take place
between Friday March 13th 2015 and Sunday
March 15th 2015
Building on last spring’s highly successful
paper-themed convention, this year we are
going to explore other folding media. We
are aiming to include sessions where we fold
with fabric, aluminium foil, lightweight plastic
etc as well as a variety of papers. If you have
any exciting suggestions for
materials please feel free to
contact the organisers.
The event will be open to
all. However, all attendees
are required to register
in advance and pay the
convention fee.
2
This can be done through
the BOS website. Rooms
at the hotel are twin or
double for up to two
occupants so you will be able to room share
if you wish, although you will have to make
your own arrangements to do this. There
are also family rooms and some rooms with
facilities for the less abled. Contact Penny for
details. membership@britishorigami.info.
Sarah Mowbray and Margaret Burling will
be organising the convention. If you would
like to teach a class, then please contact
them. If you can help with the event in any
way, contact either Sarah or Margaret. These
events don’t happen by themselves and
volunteers are very welcome.
More information: www.britishorigami.info/
society/meetings/condata.php
Autumn convention Colchester
The BOS autumn convention is scheduled
to take place between Friday 4th September
and Sunday 6th September 2015 at the
University of Essex in Colchester.
Adam Woodhouse will be the convention
organiser. More details will be available
closer to the event. However, if you would
like to assist him with the organisation please
contact either myself or a member of the
council. More details of the event will be
published later in the year.
A call for new model diagrams
Designed and diagrammed anything
recently? Then please send in your diagrams.
We have two main routes to publish
diagrams, in our magazine, British Origami,
and in our bi-annual model collections.
Michael Trew will be coordinating 2015
model collections. (due to the dates of the
spring convention it may already have gone
to print by the time the magazine arrives).
The model collections will be published as
both a book and a CDrom. A complimentary
CDrom of the collection will be sent to the
contributors whose models are featured in
the collection. If you have any new designs
you would like to share then please email
them to models@britishorigami.info Models
for the magazine should be sent to the editor
editor@britishorigami.info
Changes to the Council in 2015
2015 sees the election of a new president to
the Society, Max Hulme. He succeeds Penny
Groom who held the post for a (fixed) three
year term. The new council was elected for
a calendar year at the AGM. We would like
to welcome our new (yet old) Editor, Nick
Robinson our new Secretary Thea Anning,
plus new general officers Nigel Elworthy and
Ray Bolt. All officers assumed their posts at
the start of 2015. We would like to thank the
council officers who retired in 2014 for the
work that they did for the society in the year,
including Tung Ken Lam (Editor), Michael
Trew (Secretary) and Michael Formstone.
We are always on the lookout for volunteers
to bring new ideas and enthusiasm to
Society. If you feel you can help, either
on the council or in any other way, please
contact me or any council member.
BOS Council Meetings
The Council meet four times a year to
organise and plan the business of the society.
Future dates for these meetings are; 21st Feb,
16th May, 1st Aug and 21st Nov. The AGM
will be held at the autumn convention on
5th Sep. If you would like an issue discussed
at any of these meetings, please contact me
two weeks before the meeting dates.
ELFA Website
In July of last year the origami community
lost Elsje Van Per Ploeg. She was a long
standing member of the BOS and ELFA,
(Envelope & Letter Folding Association) and
managed their website. When she realised
that she was critically ill she contacted the
BOS and we have agreed to host the ELFA
website to keep her research and work alive.
www.britishorigami.info/academic/elfa
Harbin and Kenneway Copyrights
The British Origami Society is responsible for
the copyrights of the books, diagrams and
models produced by Robert Harbin and Eric
Kenneway. These legacies produce a small
income for the society, but more importantly
enables the models of these creators to be
published with the due care that should be
applied. Publication permission is granted
through consultation amongst a four person
committee of trustees. In 2014 teaching
permissions were granted and requests
were received to use one of Eric Keneway’s
models, the face of Albert Schweitzer.
New Website Material
We are always on the lookout for new
material for the BOS website. New material
is in the member’s area, including some
of the society’s collection of diagrams (the
“M” series). The Society is grateful to Rick
Nordal for allowing us to publish his origami
snowflake game on the BOS website: www.
britishorigami.info/fun/nordal_snowflake.php
Prepared by Mark Bolitho and Thea Anning
secretary@britishorigami.info
Thea Anning
3
 Penny & Paul
4
Review
Cut and Fold Techniques for Pop-Up Designs : Paul Jackson
This book is part of a tetralogy of books written by Jackson for Laurence King Publishing,
the others being: Folding Techniques for Designers, Structural Packaging and Cut and Fold
Techniques for Promotional Materials.
As you would expect, it follows the same visual
style of the others, being an 8.5” square, devoid
of any colour, with 130 pages of content. Having
taught folding technology in universities around
the world, few other people could bring such
a wealth of experience and expertise to the
subject.
The key to the book’s target audience is in the
title – “techniques”. This is not a book showing
finished pop-up models, whether in the Victorian
theatre style or the contemporary work of
Reinhart or Pienkowski, but a compendium of
techniques that can be combined and adapted
to almost any purpose. The techniques involve
almost exclusively straight-line cuts and folds, favouring “surface design over complex cutting”,
as the publishers explain. No glue is needed! This does limit the subject to what you might call
“natural” pop-ups, so there is nothing on multiple layers, floating layers, pull-up planes etc. so
cleverly used in modern children’s books.
However, this is not the target market. The book is aimed fair and square at marketing and
packaging students and professionals, for whom it will undoubtedly form “required reading”,
along with the others in the series. Together, they form a resource that is (to the best of my
knowledge) unrivaled in the world of print.
Available for the unusual price of £11.16 on
Amazon, it’s not a book for origamists, but it was
never intended to be and outside the world of
origami, Jackson is far better known as a paper
artist rather than a creator of representational
models. If you have any interest in folding
technology, you should buy them all and there are
special offers if you wish to do so.
More information can be found on the publishers’
site, including a series of videos.
www.laurenceking.com/en/cut-and-fold-techniques-
for-promotional-materials
Nick Robinson
5
BOS at the NEC Hobbycraft Show
This was my first time helping out at the BOS stand at the NEC Hobbycraft show, Birmingham.
The show ran from Thursday 6th – Sunday 9th November & I helped on the Friday, with Dave
Venables, Mike Formstone, Margaret Burling, Alan Cotterill, Robert Foord & Robin Macey. It
was the first time for Robert & Robin too, and I hope they enjoyed the day as much as I did.
As BOS PR Officer, and in a private capacity, I’ve taken part in numerous craft shows in the
past, but this one is easily the largest and busiest I’ve attended. At the same time as the
Hobbycraft show in Hall 20, there was also a Christmas Show and a Cake show in different
halls, showing the scale of the NEC show organization.
The Hobbycraft show had rows of stalls selling everything a self-respecting “crafter” could
want - from card-making equipment and materials, jewellery-making, beads, textiles, storage,
paper, card, scrap-booking, stamping, decoupage, wood carving, various art & paint materials,
framing - you name it, it was there…. plus food stalls, workshop & demo areas etc …
The BOS have had a stall here for the past few years now, organised by the Birmingham mini-
meeting group, led by Dave Venables. It was clear that a lot of preparation had gone into the
show. As well as a great display of origami models on the walls and in glass display cases, a
teaching “taster session” menu had been prepared with diagrams available, with a selection of
classic models, including a penguin, Yoshizawa butterfly, Xmas tree & lady bird on a leaf. Packs
of paper and diagrams had been put together for people to buy – these were very popular.
The supplies table had for sale more paper, books & booklets, starter packs & membership
info, which we tried to steer prospective punters towards with our very best BOS sales pitch!
Hats off to Robin in this respect who appeared to be veritably “on a mission”!
During the Friday I was there, there was a steady flow of customers, peaking around late
morning through to mid-afternoon. Teaching took place at the tables on the stall, with us all
taking it in turns to teach, help with sales, talk to the public, show them round the exhibits etc,
plus, very importantly, to wander round the other stalls ourselves.
Dave informs me that Thursday was
quiet but Saturday was a mega day.
We sold out of packs on Saturday
and made extra overnight and sold
out of some of those on Sunday.
The Christmas Tree pack and
butterfly and penguin packs were
the most popular.
We recruited fewer members than
at some previous shows but the
takings on supplies were at record
levels! It just goes to show that
even during these austere times,
some things like crafts are on the
up.

6
As publicity and a “shop window” for the BOS, these
shows are priceless, and as PR Officer I would like
to thank all those who took part and helped make
it happen. Special thanks go to Ray Bolt (the kit
assembler extraordinaire) and Mick Guy, as ever, who
worked hard during the 2 months prior to the event
to pull it together. Thanks also to the other helpers
Mike Formstone (who attended every day and
helped collect and return supplies), Margaret Burling
(2 days), Alan Cotterill, Agnes Mackonyte, Sarah
Mowbray, Erica Thompson, Dave King (set up and 2
days) & Nancy Pitt (new local member).
I find the whole experience of doing public shows
like these amazingly uplifting, though quite tiring.
Meeting & interacting with other arts & craft
enthusiasts, and sharing origami with them is great
fun, and for those just discovering our art, it often
reminds me of the time when I first came across
origami as a child - the excitement it gave me then,
and still gives me now. I came away from Hobbycraft
with a list from members of the public of follow-up
photos to send, diagrams to email, info to give, and
even (during one non-origami conversation) a couple
of ancestry-tracing web-sites for me to visit.
If you’ve ever considered volunteering to help out
the BOS at a public event such as this, I heartily
recommend you to do so. The Society can help towards
travelling and other expenses if the primary aim is
to promote the Society. Drop me a line: publicity@
britishorigami.info
7
Shades of Origami
I visited the Grand Designs Live exhibition at the National Exhibition
Centre near Birmingham in early October. Kevin McLeod, presenter of
Channel 4’s ‘Grand Designs’ house building programme had his own
stand displaying products made by his ‘Green Heroes’ - a group of
chosen eco-innovators. Prominent on the stand were Sonobe-based
lampshades called Petra Pendant and further research revealed that
the designer and manufacturer of the hand made shades is Kyla McCallum who runs a design
studio called Foldability. Kyla works with origami to create lighting products, packaging
and bespoke pieces for interiors and various events. The Petra Pendant, one of a range of 6
Sonobe-based pendants, is made using 55 squares of paper, each one carefully folded and
joined together by hand using Fedrigoni Italian parchment.
In 2006 Kyla studied the mathematics behind the IQ Light by
Holger Strom. She started folding in 2007 as part of her Masters
of European Design at the Glasgow School of Art whilst on
exchange in Cologne where her first origami related project was
designing a tree house. She then made a skirt from 67 folded
books and around 20,000 hand folded pages.
In 2009 she discovered the Sonobe unit and saw that it was
possible to use a similar mathematical theory that Strom had
used for the IQ Light to create a range of new shapes. On line, she Kyla McCallum
found that people had played around a little with the module to
create an icosahedron and other cube like shapes but nobody
had really discovered the full potential of the unit (hmmm - Ed). Over the space of a week or
two she then created around 30 new models using the unit.
Via email, I asked Kyla if she was aware of other folders specialising in modular origami and
who her influences were. She explained, “I’m a fan of Richard Sweeney (paper sculptor), the
late Ron Resch (an artist,
computer scientist and
geometrist, known
for his work involving
folding paper, origami
tessellations and 3D
polyhedra) and Matt
Schlian (paper engineer).
I try not to research pure
origami these days as
it’s more fun to come up
with new shapes through
experimentation. There
are a million things that
The Equi Cone Pendant
have already been done
so I’d rather follow my
8
own path than be influenced by
what’s already out there.”
After years of developing her
folding addiction, in May 2013
Kyla launched Foldability, a
studio specialising in origami
and paper based design. It
began with an exhibition at The
Lighthouse, Scotland’s Centre
for Design and Architecture.
So what of the future? “I’ve
got a range of designs that
are suitable for a wide range
of applications”, she says. “I am Petra Pendant
teaming up and co-operating
with other brands that can help bring these ideas to life. A big part of my work is material
research and investigation into different production techniques. The origami part I find
pretty easy but getting the material and production right in order to turn something into a
functional product are quite difficult and take up a big part of my time.”
Kyla is currently extending her work and developing a range of folded textiles using pleating
techniques. Kyla has worked alongside the leading experts in pleating who have been
practising intricate origami within the fashion industry for over 50 years. The designs are not
yet for sale but will be launching soon. “My aim in working with the pleaters is to bring new
life to an industry that is dying out and also to explore and discover unusual materials that can
be folded. The most fascinating material I’ve been working with so far is a fabric coated with
metal, which has aluminium, titanium, copper or gold on one side and black on the other (see
illustration – The Equi Cone Pendant). “With pleating, the process limits the shapes that are
possible so it’s interesting being led by these sorts of restrictions.”
You can see more about Foldability, Kyla and her work at www.foldability.co.uk. Photographs
reproduced with permission.
Ray Bolt

New Members
Here are the new members up to mid January, welcome to you all. Overseas: Arturo Bejar
– Saratoga, CA. USA. Maria Hernandez – Barcelona, Spain. Erik Prume – Aachen, Germany.
Anne Ducros – Lille, France. Mark McKinnon – Morganville, NJ. USA. Pam Janousek –
Omaha, NE. USA. Rosemary Browne – Trail, BC. Canada UK Kam and Lee Chan – Sheffield.
Martha Lowenstein – Belfast. Jo Stichbury – Canterbury. Stephanie Moore – Seaford, E.
Sussex. Manish Solanki – London. Neal Curtis - Swanage . Chris Neilan and Katy Biggin
– Chinley, Derbyshire. Alex Jones – Sowerby Bridge, W.Yorks. Eileen Ayres – Macclesfield.
Miles Wollaston – London. Catherine Kilbey – Norwich. Alexander Wilson – London. Hope
to see some of you at a convention this year. Best wishes Penny Groom

9
Going Walker-bout
Rambling through the foothills of origami.

Bookbinding
About eighteen months ago I saw an advertisement for a new
Edinburgh Craft company offering courses. One course was
‘Bookbinding for beginners’. Being of a bookish nature and
enjoying paper craft, this seemed like just the sort of thing that I would enjoy. So I signed up.
Before continuing too much further into this little backwater I should introduce two sub-
characters that I’m sure you’ll all empathise with; one is ‘Origami-paper-folder-geek-Dennis’
and the other is ‘Rational-Dennis’. Not exactly the old ‘Angel/Devil’ scenario, but not far off!
Anyway, on starting the course, Rational-Dennis liked
the practical aspect of making notebooks, and enjoyed
learning stitching and covering etc. but was getting
concerned at Origami-Dennis’ excuses to buy even
MORE pretty paper. This came to a head when I decided
to look through the paper that I keep in an A0-size
drawing cabinet in my garage (How I got that is a long
story involving a work clear-out, four strong friends and
waiting for the drive to freeze over. Seriously!) In this
cabinet I found a number of papers originally bought for origami, but all highly suitable for
using as covers for books. Including a large sheet of paper-backed bookcloth that I have
no recollection of having bought (“HAH!” said Rational-Dennis, “THIS is the kind of thing I’m
talking about!”)
As the course continued it became clear that I was REALLY enjoying it. Like origami, it requires
a level of technical ability to make the object, but a degree of artistry can be applied to
modify or personalise it. Lots of nice new papers to keep Origami-Dennis happy, and some
potential hand-made gift ideas to keep Rational –Dennis happy! Turns out, some people really
like receiving a hand-made notebook for Christmas.
So, of course, I started to wonder about ways that I could combine the two hobbies.
The first, and most obvious, way to combine folding and
bookbinding is to make books by folding pages together. Glue
can be avoided by using weaving methods or stitching. My
only real attempt along these lines was to make a standard
‘Accordion’ book using some Fabriano paper for the folded
pages and a nice red Yuzen for the cover. But there are a number
of other techniques I can try.
I then wondered about using an origami pattern for the
cover. I have a few ideas for this, mainly involving Tessellation
techniques. I’ve tried two so far, both using elephant hide.

10
I’ve also considered using a modular approach, i.e. make an
origami quilt-like flat pattern and use that as a cover. I haven’t
tried it yet, but I intend to give it a go at least once!
Then I had a brainwave. Why not make a container for paper?
In fact, if I use box-pleating I may even make a paper holder
that LOOKS like a book. This was one of those ideas that seem
to just arrive in your head fully-formed. As soon as the idea hit,
I knew what I wanted to do.
Instead of making a normal book-block (which is the
technical name for the bit of a book that has the pages in it)
I would make a folded book-block similar to the ‘Troublewit’
pattern, but making sure that the zig-zags would form little
compartments. Then I’d put a cover on it, with a bow!
Paying close attention to the sizes, I made sure
that it would hold 75mm square paper. I’m really
quite pleased with how it turned out.
I have a few other ideas for combining the two
hobbies, but they’ll keep for another time.
If you are interested in bookbinding, I’d
recommend finding a course, it really does
help, but there are a good number of very good
books full of ideas and techniques. Here are
some that I have found useful:
Bookbinding – A step by step guide - Kathy
Abbot. ISBN 978-1-84797-153-1. Very clear instructions on the technical aspects of
bookbinding.
Making Handmade Books (100+ Bindings) – Alisa Golden. 978-1-60059-587-5. More craft-like
with many projects showing different techniques. Lots of ideas!
Dennis Walker

11
12
13
The Paperfolder’s Life List...
..To Make, Meet, Visit and Explore
18. Fold small
If folding big needs a team, then folding
small requires a microscope and solitude!
In 1977, the BOS ran a competition to find
the smallest flapping bird. Many took part
with the side of the square reducing to an
incredible 2.9mm. Folded by Japanese folder
Akira Naito, the sample he sent was the
traditional crane mounted on a pin inside a
glass globe. It was on display at an exhibition
open to the public not long afterwards.
Alongside the globe was a caption stating
that it was the smallest flapping bird in the
world. One visitor, a youth, after studying the
model, turned to his girlfriend and said, “Do
you know, I have been watching that bird for
five minutes and it hasn’t flapped once!”
Before he died in 2010, aged 88, Naito had
gone on to even smaller things - see http://
web-japan.org/nipponia/nipponia41/en/
feature/feature12.html
photos: Naito by kind permission of the NOA and Robin
Macey photo of crane)
A 2.9mm flapper!
14
19. Rediscover Folding Faces
The subject matter of Eric Kenneway’s 1978
book is like no other origami publication.
As a trained artist, his knowledge of human
anatomy became very useful as he took
on the portrayal of some famous faces. He
argued that it was pointless folding a face
unless the public had got used to seeing
a ‘celebrity’ in a cartoon form. His Edward
Heath (a former UK
Prime Minister) with
protruding nose never
made it to the book but
when I taught it at a
Conservative Association
it was instantly
recognised.
So many years on, other celebrities have
arrived. Tony O’Hare has a nice origami
Wallace and Grommit. But is there an origami
portrait of Mick Jagger or can Halle’s portrait
of Prince Charles in BO284 assist us? Could
we even design the Mona Lisa?
Akira Naito
20. Fold
White a thousand
Tailed Deer cranes
The inscription, on the monument at the
Japanese Peace Memorial Park in Hiroshima,
reads; “I will write peace on your wings and
you will fly all over the world.” Sadako Sasaki.
Sadako was two years old when she was
exposed to the radiation of the atomic bomb.
She grew up normally but then developed
leukemia. Believing that it might heal her,
she set out to fold 1000 cranes. It is unclear
as to whether she achieved this but at the
very least she folded many hundred before
she died at the age of twelve. Moved by
her death, the local authorities of Hiroshima
set up a monument to commemorate all
children who died as a consequence of the
atomic bomb explosion. School classes in
Japan regularly visit the monument and
leave chains of origami cranes at the site.
Photo: Assia Brill

Mick Guy

Histori
How many of you remember this promotional item from the 70s?

15
16
17
Review: The Origami Home
By Mark Bolitho
ISBN 978 1909342 51 4 153 pages, hardback
Origami books cover a wide range. At its most basic, an origami book simply presents a collection of
folds for the enthusiast. At a more sophisticated level, however, books have explored the maths and
geometry of origami (Origami Design Secrets by Robert Lang), its cultural and historical context, or
have self–consciously approached it as a form of high art (Origami Art by Michael LaFosse and Richard
Alexander). The Origami Home by Mark Bolitho takes a new angle and presents origami from the point
of view of the designer, not just as the designer of the folds themselves (which are generous and varied),
but also in terms of furniture and interior design.
As Mark Bolitho explains in his introduction, ‘There is a long tradition of furniture models in paper
folding, and there are many tables and chairs among the traditional models of Japan and Korea.
However, it is a genre that is often overlooked. This collection of paper–folded furniture has
contemporary origins. It presents more than ten years of development of furniture design and includes
many unpublished projects’.
The models include a range of tables, chairs and other furniture, displayed in a number of sets including
a living room, a modern/retro dining room, a family dining room, a bedroom and a workspace, complete
with a computer screen and keyboard. And yes, there is a toilet.
Some of the models can be traced back to commercial contracts that Mark Bolitho has undertaken and
a keen practicality informs all of the models. Whilst, therefore, the models display the robust clarity of
the commercial artist, at the same time they have all the hallmarks of Mark Bolitho’s folding sequences;
original, concise and elegant. The paper is used with great thought with, in particular, some especially
satisfying locks and interleaving of layers. Personal favourites include a dining chair, a recliner and a bed
with its cover already turned down that simply begs the reader to climb in and drift off.
The diagrams are clear although they present probably the maximum amount of information that can
be included on one page without it becoming cluttered. Two pages on ‘getting started’ summarise the
standard origami notation followed by an easy chair that is deliberately designed as an introductory
model to welcome the inexperienced folder. Meticulous measurements are given for each model
together with the sheet from which they start (not necessarily a square) to enable a harmonious
grouping of items to be achieved.
But the outstanding feature of the book is the way in which
the folds and the papers from which they are made are
presented as elements of a unified design. Michael Wicks’
beautiful photographs present the models in their rooms as if
straight from the pages of the most stylish interiors magazine.
Together these highlight a range of papers with designs
supplied by leading wallpaper designers. References are
provided beside each photograph to source the design. In his
opening paragraphs, Mark Bolitho comments that some of the
prototype projects for the book were made from wallpaper,
wrapping paper and even maps. Obvious care has been given
to the marriage of the individual papers with the pieces into
which they are folded.
Continuing this approach, and in keeping with an attractive
trend, the book includes a generous packet of origami papers
Friedrich
featuring theFroebel
designs included in the book, but this gives rise
18
to my only slight quibble. Again, as is not uncommon with such papers, they appear to be derived from
a plastic source rather an organic fibre paper which gives them a glossy sheen that takes the last degree
of sophistication off the finished model. By contrast, all of the models photographed in the book itself
are made out of a matt paper, whilst the paper on which the book is printed presents a beautiful satin
finish. In addition, the diagrams in the book are presented with the print of the designs themselves
rather than illustrating the coloured side of the paper simply with a darker tone. Whilst this is in keeping
with the high production values of the book, this led to a couple of the diagrams being less than clear
where the notational symbols were hard to perceive amongst the congestion of the print.
These are, however, the most minor blemishes on a book that sets new standards for the elegant
presentation of paper folding. All are to be congratulated on the production of a reasonably–priced
volume that would be as much at home on a design–conscious coffee table as on a shelf of the most
distinguished origami books. Highly recommended.
Mark Brafield

Paper Review #24

Golden River a.k.a. Leather
Here is our third Japanese paper to review. Golden River is
distributed by Takeo and packaged by Toyo, and again, this is all
we know about it.
I encountered this paper in Italy, called “Leather”, not because how
it felt, but mostly because of the look. There is a unique texture
that reminds you of an animal hide. I found it again in Takeo store,
in Tokyo, and later in Nicolas Terry’s Origami–shop site. With few
resources, it is hard to research Japanese paper. We completed this
review based on the lab tests and our own hands-on experience.

The properties:
Thickness – the weight is 81 GSM, and has a thickness of 115 microns. Tant is the same in GSM but 10%
thicker, for example.
Sizes – not all are available in all stores, but you can find 15, 24 and 35 cm, and full sheets of 70X100 cm,
and even 1091X788mm.
Texture – one of the best features of this paper! It is like leather or skin. You can feel the embossed parts
that look like long grooves, chaotic in order. It is rough to the touch, with a matt finish. The underside is
flat and smooth, as in the production process the texture is embossed only on the upper side.
Colours – Origami-shop has ten colours. The choices of the green, blue, red and deep red colours seem
slightly odd given the nature of the paper, but the other six are more suitable for animals, with grey and
various shades of brown to yellow.
Paper colouring or colourability – using acrylic paint, the paper curled a little. No colour bled to the
other side, and the length increased by 1 mm (out of 175 mm). Although the paper is highly suitable for
coloring, you do lose the unique texture, which is no longer visible.
Aging and Tear and Wear – this paper score is average, with 400/504 in the tear machine, and we did
have some bad experiences during folding when the paper tore too easily. It scores 7 out of 10.
Tensile Strength – numbers here are 50% better than Biotope, which is surprising. It can hold 9.7 Kg
before snapping, and stretched by 4.4 cm, 20% less than Biotope. 8 out of 10.
Bending Resistance – Imagine making an arc out of a strip of paper – how much weight can it hold on
the upper point? The results – 116 and 50 are almost exactly average (118 and 49). 7.5 out of 10.
19
Memory – the paper remembered creases extremely well. Creases, when sharpened, they tend not to
move and the paper jumps to your command when changing from a preliminary base to a waterbomb
base, staying relatively flat. 9 out of 10.
Forgiveness – very high. Reversing a fold is done effortlessly. 9.5 out of 10.
Photogenic – matt finish and a textured surface are a very good starting point, use your light smartly
and you can get great images. With some colours (more with the lighter ones) the texture tends to
disappear, but all in all it is highly photogenic!
Price Group – 3 = moderate - fine folding – for showing in a monthly meeting.
Where to buy
The Source: https://origamiusa.org/catalog/products/leather-texture-mono
The Origami shop: www.origami-shop.com/en/leather-papers-xsl-207_215_458_626.html
The Takeo site: http://takeopaper.com/search/meigara_detail.html?q=3200100

Test results
Modular – Flowery Qube, by Garibi Ilan, six units, 15 cm – simple
folds go well with this paper. Then I made the six units without any
problem. Puffing the petals shows this paper has a lot of tension, and
can be stretched without crumpling. A minor issue is the weakness
on the veins of the texture; if a crease is close to it, you may find it as
an obstacle to use the crease and not the vein. Assembly is fun. Tabs
are stiff, and the final model is highly stable.
Tessellation – Pineapple tessellation, by Ilan Garibi, 35 cm – folding
the grid you feel how sturdy the paper is. There is a major increase in
the stiffness when you break the fibres. Reversing fold lines is done
effortlessly, in both directions, although it is much better against
the fibres. The good feeling continued while pre-creasing, as
diagonals fold lines reach the corners of the squares without
any problem. Collapsing the first phase is fast, and the second
is just the same. The paper jumps into place, literally. The final
model looks interesting; the texture is visible and adds a little
to the model’s charm.
Complex - Lyrebird, by Satoshi Kamiya, 35 cm – this model
has many box pleating steps, and the paper is highly suitable
for that. Creases through two, four (or more) layers at once
leave a good impression on the paper so you can sink it back
and forth easily.
Doing so, you get a good vibe of “snappiness” when the paper jumps
into place. Step 55 asked me to fold 30 layers at once. It’s doable, but
not comfortably. From here on, it was disappointing. The paper is far too
thick to show details. I couldn’t shape the legs, head or the tail, which is
corrugated, with that many layers. One cannot crease it as shown. You
must open the model and make pre-creases with the paper flat. The
final model looks clumsy, far from the delicate model it should be.
3D models – Rabbit, by Hideo Komatsu 17.5 cm – I coloured the paper
with grey FolkArt acrylic paint. This changes the behaviour a little with
more resistance to shaping. The paper is not too thin, nor too thick,
to have any real issues, even with the ears. Whilst shaping, there is no
problem getting the volume for the body and for it to be stable while
standing.
20
Sheep, by Hideo Komatsu, 35 cm – truly, the first folds
tell almost all the story. The creases are sharp, strong
and crisp. Accumulating layers reveals a shortcoming
– the layers won’t lay flat. Step 36 requires a reversal of
the left side, and with sharp corners the paper resists.
Quickly, this becomes the main issue – the paper is too
thick to allow easy shaping of the legs, or to sink some
layers together. It is an advantage when you lock the
sides of the sheep together, since it holds strongly.
Turtle, by Pat Crawford, 20 cm; Pegasus, by Edward
McGrath, 15 cm – my first try with this paper was
a complex model, a Centaur, that I couldn’t finish
although I used a 35 cm sheet. There was no way
I could shape the fingers, or other small details. I
changed to simpler models. With intermediate level
models, I found the paper easy to fold and shape. With
many layers, if you can avoid tearing it, you will benefit
from it being relatively thin. It did tear once along a fold
line; it seems that fold lines reduce its durability.

Our young expert, Ynon Toledano experimented with

Naomiki Sato`s Rose from a pentagon. He found the
paper strong and durable, with no need to add MC. It is
slightly thick to be suitable for complex models, but for
this rose, without many overlapping layers, it was good.
Creases are sharp, although a little difficult to reverse.
Shaping the petals was easy and the result was satisfying.

Final verdict
With 80 GSM, this paper is in between – too thin for
tessellations, too thick for complex. But with the great
texture, the unique look you can get with it and the way
it can be shaped to will, it is a wonderful choice for 3D
animals and modulars. Those models, without multiple
layers and tiny fingers will benefit most from it. In Flickr it
is more often known as Leather than Golden River.

Why should you buy it?

The texture will be your main reason, but not only for that.
Its midway thickness is a good compromise that allows
both shaping and accumulating a few layers without a real
problem. Bottom line – Beautiful texture.
Ilan Garibi & Gadi Vishne

21
22
23
Lee Armstrong is a BOS creator who has started to post diagrams of his work on the web
(http://foldawayorigami.tumblr.com). If you are a creator, however humble, why not send in
some photos or diagrams of your work and tell us how you work?
24
Nice to meet you: Hans Werner Guth
Introducing a member of the Society...
I first met Hans at a Didactics conference in Freiburg
and was immediately struck by his enthusiasm, creative
thinking and genial nature. We have met several times
and my admiration for the man has only increased. Those
who follow his work on Flickr and Facebook cannot fail to
be impressed by his tenacity and fertile imagination as he
explores and develops folding ideas and techniques.
He works mainly in the geometric field and has recently
developed the Jump Unit and Eifel Star, the latter to be
published in a book later this year. He is the special guest
at this year’s Origami Deutschland convention.
Nick Robinson
HWG supplied this brief biography:
“I was born in 1952 in the town of Dinslaken near the river Rhein. I finished school in 1972
and went to study sociology at the University of Bielefeld. I passed my Diploma in 1980 and
married Angelika. Worked as criminologist at the University of Bremen. During my leisure time
I studied my first computing machine - the Commodore 64 and learned to programme this
incredible machine. In 1994 I was asked to enter the IT department of a bigger company to
work as a programmer and consultant. In 2004, I had a serious heart attack. I decided no more
overtime at work. I began trampolining and I changed my food to be more Mediterranean. I
started folding paper in 2006 and went to my first Origami Deutschland convention in Bonn,
2010. My first creations have been the Jump and Eifel Star.”
Flickr site : https://flickr.com/hwguth Jump unit video : www.youtube.com/watch?v=7v0Eou-Ive8

Modular constructions Jump Unit

25
26
27
Ori-News Collated by Dr Simon Scarle

Evacuee Crane Business survivors, Ochiai held a handicraft workshop

at a communal site there. She hoped that it
Ishinomaki, Miyagi Prefecture Japan - a small
would give strength to those who had lost
business to sell novel paper cranes lovingly
relatives and homes in the disaster.
created by a trio of women living as evacuees
after the 2011 earthquake and tsunami Kindle Ad with Paper-craft Animals
disaster has found its wings, thanks to the
Amazon ironically links paper and e-reading
assistance of a former first lady of Japan. The
in an animated papercraft and origami-
unusual cranes have pleats in their wings,
inspired ad for its Kindle Voyage. The spot, by
making them appear as if they are about to
Ad Agency Wongdoody shows book pages
take off.
flying out of the Kindle and forming shapes,
They have already found favour at high- from a lightbulb to a library to delicately
profile events, even gracing the tables at a crafted birds and trees. The agency worked
banquet held by Prime Minister Shinzo Abe with Los Angeles-based Mirada Studios,
for Southeast Asian leaders. High-end hotels, known for VFX and music-video work (such
like the Imperial Hotel in central Tokyo, have as the video for Katy Perry’s “Dark Horse”).
started selling them at their shops.
The cranes are folded by Noriko Sato and two
fellow evacuees living in temporary housing
in Ishinomaki. The proceeds helped Sato buy
a kimono for her daughter in time for the
coming-of-age ceremony in January.
The crane-folding project is the brainchild of
Sanae Ochiai, 61, a former principal of Irifune
Elementary School in Yokohama.
Papercraft Insects by Soon
A few weeks after the disaster, she decided
Belgian creative studio Soon (www.coming-
to take early retirement. She loaded her
soon.be ) turned old magazines and other
van with a tent and other equipment and
paper scraps into papercraft insects as part
headed for Ishinomaki to assist with recovery
of a brochure on recycled paper products for
efforts. After temporary housing was built for
the Igepa paper company.

28
Set Sail - Napkin holder
Described as
an “elegant
ceramic napkin
holder [that]
will add a sense
of tranquillity
to any dinner
table.” A napkin holder which looks like
a simple origami boat with the napkins Digital Origami
finishing off the design. A representation of origami created using
purely digital techniques. Do you think it
Available from this on-line store: http://
captures the spirit of origami?
eu.monkeybusiness.co.il/set-sail-napkin-holder

Paper-birds in a Garden
Stunningly life-like and life-sized paper-
birds (right) are on permanent display in the
newly restored Webb Farmhouse & Galleries,
in Longwood Gardens, Kennett Square,
Pennsylvania. They are the work of Diana
Beltran Herrera and more can be seen on her
website: www.dianabeltranherrera.com

Reality Check
A recent cartoon from the “Reality Check”
strip by Dave Whamond.

And More Boats

Spotted outside the City Hall in Seoul, South
Korea, some traditional sailboats being folded
to remember the sinking of the MV Sewol
Ferry disaster in April 2014.
29
Meet the Council
Chair - Mark Bolitho
I have been a member of the BOS for more than 30 years and it has been a great
honour to give something back to the society. Our biggest achievement last
year was the publication of Origami Europe. A project designed to showcase the
work of members of the European Origami societies. We have also developed
the society’s relationship in London with The Japanese Embassy and the Japan
foundation. Professionally I work as an origami designer through my company
Creaselightning limited and my website www.creaselightning.co.uk. This has
enabled me to promote the society at various local and overseas events.
Treasurer - James Simon
I am a keen paper folder, having enjoyed modelling with paper since primary
school. I have been practising and enjoying origami for over 50 years. I have
attended many BOS conventions, and have contributed to the magazine. I have
previous experience with finances having run my own business, and also been
the treasurer of a Scout group, with six sections (Beaver colonies, Cub packs,
Scouts troops etc.). I have experience of working in the voluntary sector. I have
been chairman of a local community hall which is a registered charity. I am a
team player and work supportively with colleagues, and other stakeholders.
Membership Secretary - Penny Groom
I am in contact with all the members at some point in the year and am able to
sort out many of their problems or direct them to someone who can. When I
first had the position of Membership Secretary we just accepted cheques for
payment and all application forms were paper forms. Now we accept credit card
payment from overseas members and Paypal payment from all. Although not a
“membership job” I have also enjoyed taking the bookings for conventions twice
a year. Banking is a big part of the job, balancing the Paypal payments monthly
and splitting them between membership, supplies, conventions and donations.
Conventions Officer - Sarah Mowbray
I’ve been interested in paper folding since watching Robert Harbin on the TV as
a child. Although I had been folding on and off most of my life, I only took the
plunge and joined the BOS a few years ago. When I went to my first convention
in Nottingham I was amazed to find so many other people who were also folders,
I can honestly say it changed my life, a consuming but solitary hobby took on a
whole new meaning when I discovered the total pleasure of folding with others,
I haven’t looked back since. I work in the NHS as a senior trainer for the largest
Community Trust in the country.
Public Relations Officer - Tony O’Hare
This is my second term as PR Officer, having filled the role previously from 1998
- 2002. I have been a member of the BOS since approx 1973 (honestly!) and am
happy to give back to the BOS and our membership some of the joy that origami
has given me over the years. I am proud that 4 booklets of my origami creations
have been published by the BOS, and I continue to share my folds, and folds
by other creators, at conventions, mini-meetings and other events. My Smiley
Origami web-site sums up my approach to origami - Keep Folding, Keep Smiling.
The society’s presence at public events, craft shows and in the media generally is
one I am keen to continue to encourage.
30
Paul Hanson - Publications
When I first joined the society I felt one of the most valuable resources was
the booklets of members’ work published by the society. Although times have
changed and it is now a lot easier for the resourceful individual to self publish,
the new avenues available today present the society with new opportunities,
and a wider field of distribution. My aims are to investigate the opportunities
to expand the distribution of our booklets to a more accessible world wide
market through advertising presented by new print on demand outlets. I am also
interested in ebook publication, video and possibly mobile device applications,
some of which I have been experimenting with including our youtube channel.
Phil Swinbank - Supplies Officer
I am the author of the BOS supplies site and have worked to develop it and
liaise with our distributors to ensure the smooth running of BOS supplies. BOS
supplies now runs through a shopping cart e-commerce site and serves orders
throughout the world. We have also introduced e-books to the BOS offering.
Magazine – Nick Robinson
It’s clear to me that we need to develop a proper support team to make the
editor’s job as enjoyable as possible and to maximise the value of the magazine
to members. I want us to work towards dividing up the elements of the job, such
as sourcing diagrams, writing reviews, finding interesting content etc. My hope
is that one member of this team would at some point feel confident enough
to take up the reins. I’m happy to continue looking after the website, as I have
done since 1999. I joined the BOS in 1984 and still feel truly passionate about the
Society – it has given me friendship, support and many other rewards out of all
proportion to the work I have offered in return. I urge you all to consider standing
for council, the BOS couldn’t continue without volunteers like yourselves.
Dave Raynor
I am 57 and a Scout Leader with a penchant for ‘crafts’. Known in my Scout
District as ‘the Origami man’, often asked to come and teach to Scout groups,
Brownies, etc. Came late to the BOS - only joined 12 years ago. Passionate about
origami, but don’t take it seriously. Helped out with the BOS stall at the NEC
several times. Published one BOS booklet of models for beginners.
Pauline Trew - Librarian
I have been librarian since 2004 and have made books available to members at
conventions, mini-meetings and by post. I would like to develop more branch
libraries across the country where members could access library books. The
BOS has an extensive book collection, some of which I would like to be made
accessible to members who are running school and college origami clubs.
Sharon Turvey
I became interested in origami in the mid 1980s when a Japanese friend showed
my children how to make some traditional models. In1998 I joined the BOS. In
2004 I started going to London mini-meetings where I was inspired to make my
own creations. In 2004 I helped the BOS to organize an exhibit at the Embassy
of Japan and I created a life-size Christmas tree for the exhibit. My husband, Les,
and I supplied the signage for this convention and future conventions. Myself
and Paul Hanson have co-organized two BOS conventions. I have been involved
in all the BOS London mini-meetings and events. When I’m not doing Origami,
I’m babysitting some of my 5 grandchildren.
31
Ray Bolt
I first found origami in my teenage years. I joined BOS shortly after I married
Stella in 1971. Subsequently, I joined the Council as editor of British Origami,
taking over from Iris Walker. During the 8 years of my editorship the newsletter
progressed from a few sheets of A4 to an A5 booklet with photographs.
Computers didn’t exist so everything was done by hand. Pressures of work and a
growing family caused me leave the BOS for 30-odd years but I never lost touch
and when I took early retirement in 2009, I rejoined. 
Since then, I have been amazed at the progress made in the origami world. It
is also interesting to see so many of the BOS youngsters of that era are now
grown with families but still engrossed in the origami world, and to see my then
contemporaries retaining their interest in membership and conventions.
Thea Anning
I joined the BOS in 1978 and had little idea that 35 years later I would still be
as excited by this incredible art of paper folding. I possess the same child-like
wonder as I did all those years ago when I see the miraculous transformation
of a sheet of paper into something beautiful. Origami is a fascinating, magical
alchemy that I never grow tired of.
In a time of virtual relationships based in the electronic ether - the BOS is special
- bringing together like minded people from all over the world. Through the
magazine and biannual conventions, showcasing the very best in origami. I
always leave a convention with a renewed enthusiasm and lots of inspiration, As
well as continuing to feed my passion for folding paper the BOS has introduced
me to some amazing people and I have made life-long friends through membership of this society.
When I’m not folding paper, I love hill walking, gardening and am currently working towards an art
degree with the Open College of Arts (OCA) - although at the painfully slow rate I’m going, I will be
in my nineties by the time I graduate. It is a great honour to be the secretary of the BOS and I hope to
serve the society by ensuring it continues to flourish, producing outstanding publications and hosting
wonderful conventions
Nigel Elworthy
I’m one of the few BOS members living in South Wales. I had a happy time as
the society’s Public Relations officer for 10 years, I’m now looking forward to the
coming year on the Council. I remember being home from school ill and my
parents bringing me my first origami book. It was Harbin’s Origami 1. That was
really where I started; I have been folding ever since and now have quite a good
selection of origami books. Like many others I think I buy more paper than I
will ever fold. There are some nice pieces that I won’t be able to replace but I’m
keeping them for that fold that will really suit that sheet. I’ve had some for years
now. Sadly I’m no great creator of new origami designs. Those few things I have
designed tend to be accidental discoveries rather than something I set out to try
and make.
In real life, I am a Telecomms engineer. I now work for Vodafone after they took over Cable and Wireless,
but don’t ask me anything about mobile phones as I work on a contract for National Grid. For me it beats
being stuck in an office every day but can be lonely as my nearest colleague is 200 miles away, but then
the boss isn’t there looking over my shoulder either. Part of the appeal of origami is that it is about as far
from technology as you can get. Yes, it can get frustrating when you cannot understand how to do the
next fold in a sequence from a diagram but on the whole it’s a great way to relax.

32
Dave Venables
I discovered origami through the Rupert Annuals which I had received every
Christmas as a child. I rediscovered the books through boredom at the age of 14
while off school recovering from illness. The 1958 annual featured the traditional
frog which I persevered with it and finally succeeded. I began “impressing” friends
by folding frogs from any bit of paper at hand. Robert Harbin had a regular short
television spot each Thursday which I would rush home from school to watch and
expand my origami repertoire. At the age of 19, Lynn, my girlfriend (now wife)
bought me Robert Harbin’s book ‘More Origami’ whilst on holiday. The weather
was wet and we stayed indoors so I was able to complete most of the models.
Back to the shop the same week and we obtained Origami 1.
Arriving home, I wrote to the address at the back of the books asking for information about the BOS
and a few days later had a cheery telephone call from Mick Guy. At the time I had no idea that Warley
was just north of Birmingham where I lived! We met at my house and Mick showed me a few examples
of contemporary origami and we folded together. If I was not hooked already, I certainly was from that
meeting onward thanks to the wonderful, heartfelt and energetic enthusiasm which radiated from Mick.
Around the same time Mick started the mini meetings, held each month at his home where I met other
origami enthusiasts. Not only locals like Steven Biddle, Pete Ford, Philip Blencow and Max Hulme, but
others who travelled quite a distance to attend like Dave Brill, Paul Jackson and Joan Homewood. There
were even overseas visitors on occasions - Philip Shen’s visit I remember particularly.
Less than a year later I volunteered my services a Supplies Secretary, a job I would do for 11 years.
Looking back it seems crazy now but in my formative years in the society I became involved in all
manner of origami projects with Mick and Ray. We had 6 major exhibitions, I learned to illustrate origami
and wrote 3 booklets. I was invited to appear on schools television - 38 programs over 4 years. My wife
and I received overseas origami visitors on a regular basis and enjoyed having UK origami weekend
guests stay. Thoki Yenn, Laurie Bisman and of course Neal Elias stayed with us and became lifelong
friends. I met with Neal and his wife Betty first in 1984 and thereafter most years until Neal’s passing in
2005.
In 1981 my son Guy was born and Nicola 4 years later. Origami took a back seat for a few years, although
I remained a member. During my absence I was honoured with one of the first Sidney French Medals.
Peter McKeown contacted me in the early 1990s and badgered me into attending a Birmingham mini
meeting. The friendliness of the group re-invigorated my enthusiasm and I started to become involved.
I was greatly honoured in 2008 to be invited to New York as joint special guest with Max Hulme at
OUSA’s convention where I taught and spoke about Neal Elias. In 2009 I was invited to be BOS President
- the greatest honour of my life. This also allowed me to serve on the BOS council once more. I enjoyed
my 3 years and facilitated a convention at Cadburys of which I have very fond memories. I have at my
home a large part of the BOS archive which I am slowly organising and digitising.
I retired from work 4 years ago and while visiting a show at the National Exhibition Centre thought; “we,
the BOS, can do this..... “ We have now attended the Hobbycraft show, a major showcase opportunity for
the BOS seven times, recruited around 30 new members and promoted and demonstrated origami and
the British Origami Society to thousands of people.
Last year I finally finished and published ‘The Origami World of Neal Elias’ on DVD ROM which I believe
to be the most complete reference on a single paperfolder ever produced. I have run an adult origami
class for the University of the Third Age (U3A) for over a year now. My group’s origami skills have
blossomed during our lessons and they are now at quite a high level - I feel like a proud dad.
All this and how many models have I created? There’s my duck and a few more, but not many. My
enjoyment over the last 40 plus years has come from the unselfishness of BOS and other origami
enthusiasts and the encouragement they have given me and which I, in turn, try and pass on to others.
33
34
35
Review: Drawing Origami vol. 1
by Halle / Pere Olivella / Nicolas Terry
210 pages hardback A4 ISBN 2-84424-039-9
A wonderful present arrived shortly before Christmas, a copy of
the new book by Halle / Pere Olivella / Nicolas Terry (a.k.a. the 3
Stooges), a copy of their latest book. Terry has already established
a (deserved) reputation as a publisher of the highest quality,
producing a seemingly endless supply of new material for folders
around the world through his company.
Written in French, the introduction is full of humour and details of
the production team and various folding techniques. The “prologue”
was supplied by myself and they didn’t change a single word, which
was brave! The text within the diagrams is in English, a sensible
decision considering the world-wide appeal of this book.
Across the 210 pages are presented 36 models ranging from simple to complex level, designers are
drawn from around the world and represent the new generation of designers, such as Sébastien Limet,
Nguyen Ngoc Vũ, József Zsebe, Maria Sinaskaya, Gachepapier, as well as more established folders such as
Robert Lang, Román Díaz, Halle and Quentin Trollip.
What strikes you immediately, looking at the gallery / index, is the artistic sensibility that has permeated
through origami over recent years – almost all the models are 3D to some extent, and display a
refinement of technique and touch that used to be quite rare. Clearly, this reflects the good tastes of the
compilers, who know a good design and creative talent when they see it.
Then you get to the diagrams, but what diagrams! Halle (a.k.a. Carlos González Santamaría) has for
some time been the most exciting diagrammer on the planet, to my eyes. His work is computer drawn,
using steps folded by Olivella as the basis for delightfully three-dimensional, witty and eye-catching
representations of the folding sequence. Every single step is lovingly created to include subtle shadows
that really give the drawings some life. You can see an example in the “Pelican” diagrams on page 16. I
cannot imagine the time it takes to draw these and I cannot praise Halle enough. As a diagrammer, I’m
always looking for new ways to improve my work, but the bar set by Halle is metres above my best.
I have found it impossible to pick out highlights, the diagrams encourage you to get the best out of
every model and with practice, you can hope to match the standards of the photographed examples.
At €34, I feel it’s good value, plus you can get a pdf version as well for a mere 2 euros. A thick, hardback
book is always going to attract depressing postage costs, but you should try and get a copy of this book
if you can. Not only is it well worth it, but you are helping to further the work of the publisher, who
deserves the fullest support of the origami world. You can order direct from www.origami-shop.com
Nick Robinson

Hands on - Yes? No?

36
Cover Story : Ariel DeAndrea
I saw some of Andrea’s work on the web and asked for her permission to use an image on the magazine
cover. I also asked how she got so much detail into a relatively small painting, the answer was “patience
and small brushes “. The Editor
Here is her story. “As a young girl I was entranced by the
Japanese mythology of the red crested crane. which could live
a thousand years and if you folded 1,000 origami cranes you got
to make a wish for the sick to get better. Growing up without
religion in the home, the commitment of folding 1,000 cranes to
make a wish was a practical form of prayer I could understand,
having never been taught to pray.
“When my father fell ill, I struggled with how to cope with this
adversity, I turned to folding a thousand cranes. It eased the
helplessness I felt. Carefully selecting the paper for each bird
and meditating on my purpose for folding them, the plan to set
them to flight began to form. This began my installation work,
completing a total of 3 flocks, each with 1,000 cranes: first, for my sick father, second, when our country
went to war in Iraq, third, when my mother fell ill. Creating a space for these origami cranes to fly was
a way to share my hope, love and commitment to the wish I had made with others. The impact of
seeing each bird with its space to fly, knowing that the hands of one person carefully crafted each one,
resonated with my audience.
“I wanted to take this one step further by beginning a series of paintings featuring a solitary origami
crane because, as amazing as 1,000 cranes are, each bird is very important to the whole; each crane
should be cared for in the process. It is not just about the impressive whole, but each component. I
feel that in my style of painting I am able to further breathe life into the symbol of one solitary crane by
placing it in real life situation where it gets to behave as a real bird would, riding with the current or the
water, nestled amongst plants and interacting with the human form so that it might take on greater
symbolism as a talisman of hope.
“Then one might look at the entire flock and see that it is made up of 1,000 different personalities, spirits
and moments of hope. Although the crane could be seen as little more than a child’s toy, in the setting
of my paintings, the illusion becomes real and
the cranes take on character, personality, and
life. To truly express the hope of the crane, I have
also created the juxtaposition of the crocodile,
an ancient creature that represents ultimate
destruction and fear in my dream life.
“My goal in the execution of this work is
to create imagery just realistic enough to
convince my audience that the world is real,
while maintaining a painterly and interpretive
approach that allows for emotionality in the
work. Up close I like the strokes to inspire feeling
and decisiveness.”
Ariel DeAndrea
You can see more of her remarkable work (which
is also for sale) at www.arieldeandrea.com
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Letters
Hi Nick,
We ran a project for the “1000 cranes” World
Origami Days project at Lathallan School, a
small boarding school in the north east of
Scotland. I am a sixth year student there.
The cranes took about two weeks to fold,
and sparked much discussion and interest
in origami. As a result, the club membership
has grown slightly, and even after the end of
the WOD period there have been little cranes
made from lined paper or sweetie wrappers
appearing about the place!
Lathallan School
One group of boys had a competition to see
who could fold the smallest crane, and the
pupils definitely seem to have engaged with this. Many
have looked into the story of Sadako Sasaki, either with
teachers or by themselves, and been touched by that...
and combined with the work of the school’s newly
appointed Mandarin teacher, there is a huge support for
study of the oriental arts in the school.
Thanks,
Kinnear Origami Club
Patrick Kinnear
Hi Nick,
Colin Butterworth is a friend who has just returned from a holiday in Ecuador. He writes: I’m
going through the Ecuador photos, and came across this. We thought you’d be amazingly
interested! The sign was in Quito - the capital of Ecuador, and it says, ‘Factory of Origami’. The
website http://origamienecuador.com is in Spanish but it looks as if origami is practised in
Ecuador!
Mick Guy

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Mini Meetings
Mini-meetings are the best way to meet other folders in your area regularly. Please support
your local groups by sharing your enthusiasm. Keep readers updated with what’s been
happening at your meetings by sending in your reports.
If there isn’t a mini-meeting near you then start one! Ask any council member or contact other
organisers for advice. And, of course, let the Editor know about your meeting and you’ll be
added to the map.
SCOTLAND Last Sunday of every other month Contact Dennis Walker 01 383 8801 93
MANCHESTER Every third Saturday. Contact David Tittle david_tittle@btinternet. com
SHEFFIELD Date varies. Contact Nick Robinson 0114 250 9388
NOTTINGHAM Contact Erica Thomson 0115 981 2750 or erica@erica.co.uk
BIRMINGHAM Last Sunday of every month. Contact Dave Venables 01 564 824255 or Peter
Borcherds 0121 4753029
OXFORD Meets from 7pm every Monday night during term time, usually at Brasenose
College. Contact Peter Buchan peter.buchan@stcatz.ox.ac.uk or go to http://
groupspaces. com/OxfordOrigamiSociety
BRISTOL/BATH Meetings on first Saturday of even months. Contact Tony O’Hare tohare@
blueyonder. co.uk or 0117 9023892, or Matt Humberstone matt@
humberstone88.plus.com or 07805 7741 82.
SLOUGH Contact David Raynor 0791 9 205671
LONDON Second Saturday every month Royal Festival Hall, Southbank, 2 pm to 5 pm.
Contact Paul Hanson londonorigami.bos@gmail.com or 07759 650060. Or
via the webpage www. britishorigami. info/society/london. htm

39
The BOS Council
President Max Hulme
Vice-Presidents David Brill, Mick Guy, John Smith, Iris Walker
Chair Mark Bolitho chair@britishorigami.info
General Secretary Thea Anning secretary@britishorigami.info
Treasurer James Simon treasurer@britishorigami.info
Conventions Officer Sarah Mowbray conventions@britishorigami.info
Librarian Pauline Trew library@britishorigami.info
Magazine Editor Nick Robinson editor@britishorigami.info
Membership Secretary Penny Groom membership@britishorigami.info
Public Relations Officer Tony O’Hare publicity@britishorigami.info
Publications Officer Paul Hanson publications@britishorigami.info
Supplies Secretary Phil Swinbank supplies@britishorigami.info
Other officers Ray Bolt / Nigel Elworthy / David Raynor / Sharon Turvey
Dave Venables
If you wish to raise a matter with the council, or have an interest in volunteering for the
Society, please contact the chair via the website or the email on this page. We look forward to
hearing from you!
Enquiries
For general enquiries For membership enquiries
Thea Anning Penny Groom
BOS General Secretary BOS Membership Secretary
60 Sunnyvale Road , Toley, 2a The Chestnuts, Countesthorpe
Sheffield S17 4FB Leicester LE8 5TL
Telephone: +44 (0) 114 2353547

Matthew Heyward in action at the Bradford Convention

Legal Details
All contents copyright the British Origami Society 2014 (Charity Number 293039). Contributions remain the 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 17453410

40
 41
Them were t’days...
Dave Brill, strutting his stuff
Travolta-style at his 40th birth-
day. (pic Bronco Sinkin).