Origami U.S.A. - The Fold - Issue 24 (September-October 2014)

September–October, 2014
Origami Designer's Secrets: Anja Markiewicz

by Ilan Garibi
Edited by Patsy Wang-Iverson
biography interview diagrams
Imagine your whole

exhibition, more than 30
models, stored in a
matchbox. Anja always
presents her models with a
magnifying glass, otherwise
you won't be able to see
much of its beauty and
elegance. As a master in
miniature origami, she
decided to go this extra mile
and become a professional
origami artist.
About Anja As always, nine questions
are answered, and this time
we have a bonus – I tried my
hands in miniature-folding,
under the smiling supervising
eyes of Anja, and it was a
very interesting experience...
Who is Anja
Markiewicz? Please tell
me what I must know
about you.
Anja Markiewicz, image by Janine Vogelein Anja : The Origami artist
(All non-credited images by Anja Markiewicz) Anya Midori is a self-
confident and strong
business woman. The
therapist Anja Markiewicz is
also hard working and
straightforward, but an
emphatic person. The
private Anja Markiewicz is
very sensitive and diffident.
But the private Anja can be
Folding with friends loud and dominant, too.
Image by Halina Rosciszewska-Narloch Sometimes it is very difficult
to find a good compromise
between job and family.
What is Origami to you? Why are you interested in Origami? What was your first model to fold? What types of
Origami do you like to fold and to create?
Anja : Origami is my life; Origami is my passion; Origami is to visit friends, and Origami is relaxation (yes, to fold miniature Origami is for
me a relaxation!) ;-) Now it is a passion of my life! I love to fold with other people and attend Origami meetings or Origami conventions! A lot
of Origami people are my friends.
I prefer miniatures! I love to fold very small Origami. Mostly I like to fold animals. My favorite animal models are realistic and not too complex
to fold. In my first model, I was challenged to fold the Jedi Master Yoda of Kawahata with a friend. We were at school and we wanted to
make a project together with other students. The other students wanted to design a sheet of paper with the name and logo of a company,
and my friend and I were supposed to fold Master Yoda from this paper. You know it is a very complex model. So it took us weeks to
understand the diagram and to fold a great Yoda. When we presented very proudly the result, the other students had already lost interest in
the project.
How did you become a miniature folder? What drove you to this extreme edge of the Origami world?
Anja : I found Origami around seven years ago. At this time I visited a school as an occupational therapist. It was a boring lesson, and I ate
some chocolate with a friend, but we still were bored. We then started to fold an Origami ship with the the chocolate wrapper. Then we cut
the paper in half and folded again, cut and folded ... so we started to fold very small ships and after a while my friend wasn’t able to fold the
smaller paper. So I won the competition. It was so nice to fold this size. At home I started to fold other models with this chocolate wrapper. At
this time I still didn’t know I had a big talent. One to two years later I met my Origami friend Ralf Konrad and showed him some of my first
miniature Origami works. He was fascinated and told me that I am very talented. I couldn’t believe it. I thought that every Origami artist can
fold in this size. This is how I found my destiny. .
As a miniature folder, you mostly fold other people's models. How do you choose them? What makes a model
suitable for miniature folding? What is it in the model that appeals to you?
Anja : Sometimes I fold a
new model first with larger
paper and then with smaller
sheets. Every time it is a
challenge for me to fold the
model with a smaller sheet
or to fold a more difficult or
complex model. I like to fold
intermediate models with
nice and easy folding steps.
It is difficult to describe.
Some folding segments are
more fun than others. I don’t
like to fold modular Origami Miniature origami samples First miniature origami from chocolate wrapper.
in small size, because it is
very difficult to put the pieces
together, and mostly the
result is relatively “very” big.
I tried to fold a
miniature with you, but
failed miserably. Do
you use any tools? How
can one close-sink
such tiny paper? Tell us
how you do it!
Anja : This is a very difficult
Miniature origami papers
question. I can’t explain how I
fold a miniature Origami. I
fold it in the same way one
folds a big model. The only
tool I use is a toothpick. The
tip helps me to do anything
inside the model. It is my
finger and bone folder for the
small models. I think you
need a lot of feeling in your
fingers, because often I roll
and push the paper between Folding miniature origami
my fingers. For very small Folding at an event Image by Knut Klihowetz
miniature Origamis I need a Image by Marcus Karsten
needle and good light, but no
magnifying glass or
tweezers.
What papers do you

usually use and why?
How do you decide
what paper to choose?
Anja : I use very thin paper
similar to tissue paper, only
stronger and waterproof (it is
important, if I fold with sweaty
fingers). I think the paper has
only 20g/m3. It is a paper
from Japan, and I don't know
the name. I only use this kind
of paper. I think it would be a
good idea to test different
papers with an easy model.
Take very small paper and
try to fold. So you get a
feeling for different
properties of the paper.
Some papers are too Folded version of Anja`s Homepage logo Cross, by Anja
slippery, some too smooth or tear quickly. Some papers even disintegrate.
Recently you decided to become a professional Origamist. I know many of us would love to practice the hobby as
the source of income. Please share with us your experience and thoughts about that.
Anja : To be a professional Origamist was not a deliberate decision, so I didn't plan it. With other Origami friends we visited a paper
company in Berlin and we could see the production of paper and Origami books and we talked with the boss of this company. She told me
she was working on a new book and she took some photos of the steps. For this job she used a professional hand model, but she wasn’t
happy, because this hand model didn't touch the paper correctly so it looked unnatural. I said, more as a joke, “Maybe one of us Origami
people can do this job. We know how to fold the paper.” She looked at my fingers and said “good idea! Please give me your contact
details.” And sometime later she phoned me saying she had a job for me. But first I had to register as a professional Origami artist.
Now Origami is my full-time job. I have a lot of different jobs to do. All in all I could say, I have two different ways to get my income with
Origami. To start with my favorite way, I sell my miniature Origami. I take these little models in small boxes and brand them as keyrings,
mobile phone charms, necklaces, bookmarks or bracelets. The other way is to work for big and famous companies. Sometimes I drive to an
event, a fair or a company party and work there as an Origami artist. There I have a table, and I fold for or with the customers and present
how I can fold a sheet of paper (in a normal size) to create an animal or something else. Another possibility to get money with Origami is to
fold models for advertising: either a model for a visual like an ad or a product logo or many copies of a model to serve as presents for
customers.
I am sure there is one model of yours that you would like to point out to us. Which one is it, and please tell us why
you chose it?
Anja : I created a religious cross. This is a special symbol for me, because I’m not religious. My parents don’t believe in God. They raised
me with the fact that God doesn’t exist. But at school and throughout life I heard about God and was curious what is he and why so many
people believed in him and we didn’t. Now I’m an adult and the belief and God are very important topics in my working life. As an
occupational therapist and in my nonsalaried work with dying and incurable people I meet a lot of people who are comforted by their belief in
God. So I created a cross as a symbol for God, and I need it in my work. I fold it as a present for my patients, and they take it as a lucky
charm.
Is there one last question I should have asked? Ask yourself, but don’t answer. Just let us know what is the
question …
Anja : What will be my Origami future? Will I enjoy Origami in 10 years? Is it possible to make a living only from Origami jobs? Will I still have
keen sight in 10 years?
Name Anja Markiewicz AKA Anya Midori
Place of residence Potsdam, Germany
Profession Occupational Therapist/Origami Artist
Email kontakt [at] faltsucht [dot] de"> kontakt@faltsucht.de
Website http://www.faltsucht.de
Diagrams!
To really know a designer, you must fold her models. Anja presents here her Cross.
Click here to download the diagram.
Miniature origami with Anja

The first feeling I have is hopelessness. I am totally out of my comfort zone. I can't see or feel the paper like I usually do; I make small
mistakes I usually disregard immediately, but here every tiny mistake is big. I can't even notice I am holding the paper with the wrong side up
(and Anja sits by with a little smile in her face). The first step is precreases, and I find it already to be on the verge of impossible. I manage to
fold into halves but when trying to blintz I am far from having all corners in the center. The crease lines are hardly visible and totally
impossible to feel. I managed, somehow, and was ready to collapse. I may have gotten used to it, because it went well. But my sense of
Kreuz
Design: Anya Midori - 2013
Diagramm: Alessandro Masiero
Cross
Designed by: Anya Midori - 2013
Diagrammed by: Alessandro Masiero
1 2
3 4
5 6
© Copyright 2013 by Anya Midori

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/
7 8 9 10
11
12
13

14
15
16
17
18

19 20
16-18
21

September 2014
Dear OrigamiUSA Member,
For more than 40 years OrigamiUSA has decorated the annual Origami Holiday Tree at the American
Museum of Natural History in New York. It has become a tradition for us, the Museum staff, New
Yorkers and visitors from around the world who look forward to the wonder it holds. After the
Rockefeller Center tree it is the most visited holiday tree in New York City.
It began as a way of showing our appreciation to the Museum and staff for the home-office space we
receive as a contribution from the Museum. At the popular and anticipated tree lighting ceremony
OrigamiUSA volunteers distribute to all those who attend an origami gift folded by you, our members.
This year in keeping with the theme of the Holiday Tree “A Night at the Museum” which will coincide
with an upcoming movie, we are going to distribute as the Holiday Gift the Mascot Monkey by
Tomoko Fuse (diagrams included).
Enclosed you will find one sheet of 6 inch paper. If you would like to make more than one, please
follow the guidelines below:
Do Do Not
Ø Use 6 inch paper only (the gift Ø Send models other than the Mascot Monkey
packaging has size limitations) Ø Draw on or embellish the model in any way
Ø Use patterned or solid color paper Ø Tear the paper to size, clean cuts only since some
Ø Pack the model flat for mailing edges are visible
Ø Send models larger or smaller than what is
produced by a 6 inch square.
We look forward to receiving your model contributions no later than October 24, 2014. Please pack
your models carefully, mark the envelope “Annual Gift” and send to:
OrigamiUSA
15 West 77th Street
New York, NY 10024
Thank you and Happy Folding!
Jean Baden-Gillette
Annual Gift Coordinator
This mailing is being sent to all members first class through the
generosity of the American Museum of Natural History.
15 West 77 Street
New York NY 10024-5192
Fax 212-769-5668
Telephone 212-769-5635
Website www.origami-usa.org
E-mail origamiusa@pipeline com
Mascot Monkey by Tomoko Fuse
1
2 3 4
Open and squash.
5 6 7 8
Turn to left. Open and squash. Fold and unfold. Bring the upper layer upward
and squash flat.
11 12 13
9 10
Repeat steps 7 and 8

on the back. Turn to the triangular Open and squash.
flap to the left.
14 Make the head.

16 17
15
© Copyright 2013 by Jason Ku
theF LD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
18 19 20 21
Fold the back
flaps behind.
Fold in between
under the head.
Fold the triangle Back side view.

between the layers.
22 25
23 24
Inside reverse fold.
Make outside reverse

26 fold for hand and inside 27
reverse fingers.
Make inside reverse fold for hand

and outside reverse fingers.
OrigamiUSA wants to thank Tomoko Fuse for her generosity in allowing us to use her Mascot Monkey
model, distribute the diagrams to our members and post the diagrams in our on-line magazine, The Fold.
© Copyright 2013 by Jason Ku
theF LD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
Diagrams: Decorative Cubes

by Meenakshi Mukerji
modular diagrams low intermediate geometric
Decorative Cube (top left) and Variations. Click on picture for diagrams.
The Decorative Cube design is an improvement over my previous Windmill Base Cubes (published in Origami Inspirations, 2010) in that,
no separate joining tabs are needed. Both look similar but while the Decorative Cube is only a six unit modular, the Windmill Base Cube is
made up of 18 units (six for faces and 12 for joining tabs) and hence more tedious to make. Each face of the Decorative Cube is still a
Froebel type design but the use of separate joining tabs are eliminated by starting with Blintzed Windmill Bases instead of ordinary Windmill
Bases. Corona Harmony paper, 6" or larger, best suits the design as it distinguishes the center from the rest of the unit. Although the
Decorative Cube has been diagrammed along with only three other variations, possibilities are numerous. You are encouraged to try other
Froebel type variations by applying them to Blintzed Windmill Bases and connecting them as explained in the diagrams.
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Paper Review #22: Karaperapisu

by Ilan Garibi and Gadi Vishne
Edited by Sara Adams
paper
There are some benefits for having a Japanese speaking editor. When Jason Ku stayed in Japan for a year, he opened a gateway for me to
some incredible Japanese papers. This article, as well as the next five, are dedicated to those papers.
We start with a unique, iridescent paper. Its name, as far as we know, has no real meaning, and it may come from the word "Karape" (฀฀฀
- Ka Ra Pe) which is a shortening of the English term "Color Wrapping Paper". Rapisu has no meaning, but it does roll nicely on your
tongue.
It is made and distributed by Takeo, a Japanese producer (with more than 5000 papers in its catalogue!), and packed by Toyo, marked as
an origami paper. By the way, on the Takeo site it is referred to as a gift wrapping paper.
It is not good for everything, as it sits in the middle of the low weight group. It is mainly for complex and multi-layered models, so do not look
for modulars or simple folding in this article. We were unable to get any official data, so it is all based on our tests.
Properties
1. Thickness: The paper weighs 42gsm and has a thickness of 71 microns. This puts it in the same category as Unryu, thin Kraft and
Onion Skin paper. Unlike the other mentioned papers, it is the only one that is sold as origami paper.
2. Sizes: There's a complete range of sizes - you can find full sheets at 93.9cm × 63.6cm, or pre-cut squares with a side length of 60cm,
40cm, 30.5cm, or 15cm.
3. Colors: 4 colors are available: blue, gold, red, and green.
4. Paper Coloring or Colorability: This paper is not meant for coloring.
5. Texture: One side is black (!), the other has a shiny, glimmering metal finish. The paper is very smooth on both sides.
6. Photogenic: This is a little tricky. The deep colors and the metallic, glimmering texture have great potential. Both the color side and the
black reverse have a glimmer that can be a big problem if you do not know how to control your light. It takes a good photographer to
bring out its beauty.
7. Aging and Wear and Tear: The paper is weak, almost the weakest paper we have tested - it scored 216/316 in the tear machine,
while 40gsm Kraft scored 204/247. The paper tore for two of the three of us while folding. 3 out of 10.
8. Memory: The paper's performance here surprised us. Although the paper is thin, it has great memory. Once you fold it you need to
smooth it strongly to flatten the paper again. 9 out of 10.
9. Forgiveness: If you make a sharp crease, you can easily reverse it. You can feel the crease and follow it, just work a little slower than
usual. 8 out of 10.
10. Tensile Strength: We refer here to the maximum stress the paper can
undergo while being stretched or pulled. On the one hand, the paper is
flexible and stretched by 11.7mm before snapping! On the other hand, it can
hold only 4kg with the grain, and 2kg against the grain. 4 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.
Since the test machine is in repair, I have no numbers here but a sense of
my hand. The medium papers are highly resistant when folded. A bone
folder is almost a must. 9 out of 10. The super thin papers are more
welcoming, but they are far from being soft, even given their low weight. 7
out of 10.
12. Price group: Expensive - think thoroughly before using – for a best friend's
wedding gift.
13. Where to buy:
origami-shop.com (15cm, 30.5cm, 40cm, 60cm)
OrigamiUSA's TheSource (15cm)
origami-papier.eu (15cm)
A pack of Karaperapisu
origamihouse.jp (15cm)
takeopaper.com (93.9cm × 63.6cm, delivery within Japan only)
Test results
Tessellation
Pineapple tessellation (the extreme version) by Ilan Garibi, 30.5×30.5cm
The extreme version is based on an 8×8 molecule (unlike the 6×6 in the original)
and an extra stage in the collapse. This version asks for very thin paper, but with
agility and resistance. Karaperapisu is such a thin paper, and yet the first folds
reveal that the paper breaks and takes creases like much thicker paper. I folded
a 34 by 34 grid and could reverse it with little effort. Only rarely do I miss the
existing crease line. I work slowly, sometimes even very slowly, while doing the
precreasing. The diagonal folds do not jump into corners, and you have to lead
them slowly to place. The black side has very little bump and it is hard to see the
crease lines. The collapse is done in three stages, and this is where this paper
rocks! It is so thin, yet highly responsive, keeps its shape even when there are
many layers, and the paper stays crisp even after a lot of handling.
Complex
Collapsing the model worked perfectly.
Owl by Katsuta Kyohei, 30.5×30.5cm
I could fold the model with this paper very quickly - perhaps my fastest fold of it
yet. The paper snaps into place accurately. It was easy to fold the grid as well as
all the precreases accurately, and collapsing the base was easier than ever. The
paper folds beautifully, and reverses with no effort at all. Truth be told, the talons
are usually a big problem, but not this time. Throughout all the open sinks, the
paper behaved perfectly. I used tweezers for the final details and the result is
highly satisfying.
Lyrebird by Satoshi Kamiya, 30.5×30.5cm

This is the first time I
folded the lyrebird.
There are many box- It was very easy to fold the owl from Karaperapisu.
pleating moves here
and for the first time
the paper is a little
disappointing. When I
fold two to four layers
together, I lose
accuracy. Inner pleats
are much harder to
reverse, as required
when open sinking
back and forth. While
pulling aside a layer
to reverse it, the
paper tore. Another
tear formed when I
opened the many
Folding the lyrebird was a challenge.
layers of the wing
base. On the plus side, the series of outside-inside reverse folds to create the tail went really well. There is a total of layers of paper, and
only few paper types allow manipulating so many layers this easily. To complete the tail, you have to fold a corrugation. I had a lot of issues
here. Using the method suggested in the book, it was almost impossible to pull out the wanted layer and to push it back, because of the little
tensile strength this paper has. I then tried folding it like a tessellation, but the creases I formed by folding all layers at the same time didn't
give me accurate enough crease lines to work with. It was a complete mess. Indeed, this model has steps that you can only easily complete
with thin paper, and then other steps where you need some stiffness - which this paper lacks.
3D models
Wizard by Satoshi Kamiya, 30.5×30.5cm
Precreasing went perfectly. The paper has great memory and it was easy to make the long fold lines in the first steps. I managed to shape
the model as I wanted, and the paper held the shape without MC or other help. Surprisingly, even though the stick has many layers, I
managed to get it right, too.
Dwarf by Eric Joisel, 30.5×30.5cm

The paper folds well; I liked the way it reverses and holds the creases and shape. Yes, it is a thin paper, but not thin enough for this model.
The hands have so
many layers - too
many to shape them
as I wanted to.
Another issue was
the weakness - when
pulling the paper
aside, it easily tears,
so I had to work
slowly while shaping
the beard.
Our young The paper holds the shape without need for MC.
expert
At the age of
fourteen, Ynon
Toledano is our
special third opinion
reviewer.
Cicada Nymph
and
Cyclommatus
Metallifer, both
by Satoshi
You have to work carefully to prevent the paper from
Kamiya,
tearing.
30.5×30.5cm
A perfect paper for insects.

The paper folds great. It is easy to reverse fold lines, and with both models, the many layers were no obstacle for me. It is good for shaping
as well, and I managed to create all small details of the legs. It did tend to break and tear at the edges, and I use just a little MC enforcement
at the final stages. All in all it’s a perfect paper for insects, and I really enjoyed it.
Final verdict
While we had hugely varying opinions in our previous review, we had a complete wall to wall approval here - it is a great paper, especially for
complex and 3D models. Even for tessellations it worked fine, thanks to the contrast very thin papers can achieve: only 0.071mm thick, and
yet it can hold a crease perfectly.
However, it is not a perfect paper. There is a price to pay here – the paper is weak and will tear if not handled carefully, as it happened to us.
Moreover, its texture and the black reverse - although rare and unique - create a problem: you cannot color it and not that many models are
suitable for the iridescent look.
In flickr, I found no pictures of models made from it. It is probably because it is not a well known paper. With more and more online stores
starting to sell it, I believe this will change soon.
Why should you buy it?

It is thin, unique in color, and has perfect memory. If you like to fold bugs or complex models, this is the paper for you.
Bottom line: a treasure to be found!
Thickness Color Tensile Bending Price
Paper Size Texture Aging Memory Forgiveness
(gsm) palette Strength Resistance group
93.9cm×63.6cm;
Karaperapisu42 15cm, 30.5cm, 4 Iridescent Unknown9 8 4 4 4
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 US letter, A3, A4 Limited Smooth Unknown9.5 9 6 7 3
Paper
Fine Linen,
New Linen, Many
Efalin 115 70cm×100cm 24 9 8 9.5 7 3
Crash, years
Smooth
varies; e.g.
Many
Lokta ~50 45cm×45cm, Many Handmade 6 7.5 9.5 6 4
years
50cm×65cm
Many
Bible 35-50 B1, A4 white Smooth 7 7.5 8.5 6 2
years
15cm, 35cm, full Rough and
Sato Gami 80 6 Unknown9 9 7 8 4
sheets Fibery
10cm, 15cm,
Glassine 40 20cm, A4, 11 Smooth Unknown9.5 6 8 4 3
70×100cm
Hand- Many
Unryu 27 40cm, 60cm 10 7.5 8 10 5 4
made years
A4, Smooth,
Skytone 90, 176 12 Unknown8 9 7 8.5 3
63.5cm×96.5cm marble-like
7.5cm, 15cm, Smooth, a Many
Kami 60 200+ 8 8 7 8 1
30cm bit shiny years
5
Ingres 90 B1, B2, A4 (previouslyRough Years 8 8 7.5 8.5 2
21)
15cm, 20cm, Glittery;

Nicolas Terry
50 30cm, 40cm, 8 hues handmade Unknown8 8 9 8 4
Tissue Foil
60cm look
A4; Letter; Many
Onion Skin 35 White Cockled 8 5 8.5 5 2
84.5×64.4cm years
Smooth
15cm; 30cm;
Light and a little
Kraft 35 48cm; 35cm; Unknown9 5 8 4 1
brown shiny on
40×60cm
one side
28 hues, Less
Crumpled 48-51 64cm by 64cm plus 12 Bumps than a 8 6 4 4 2
pearled year
Smooth
110-340 (120
Stardream 72cm by 102cm 33 hues and Years 9 9 7 9.5 3
tested)
sparkly
40cm by 50cm Very Many
Origamido 10-100 Varies 5 to 9 6 to 8 10 2 5
and more broad years
A0-A7, B and C Mainly
50-120 (80 equivalents, white, but smooth Few
Printer Paper 7 9 4 4 1
tested) ANSI. Many many and dull years
others colors
various from
Japanese smooth Many
50 3cm up to 50cm 12 colors 10 4 5 6 1
Foil and shiny years
squares
7.5cm; 15cm;
Mildly Many
Tant 78 30.5cm; 35cm; 100 colors 9 8 6 5 2
rough years
110×80cm
Elephant A4; Many
110 7 colors smooth 10 7 10 10 3
Hide 70cm×100cm years
Paper Classic Action Tessellation Complex Modular 3D Wet Folding Final score
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
Review: "Practigami"
by Halle
Edited by Jason Ku
book review objects
Practigami
Editor: Gerardo Gacharná Ramírez
Paperback
7.5" x 7.5"
Black and White
135 pages
English, some Spanish/French
ISBN 1495203026
$3.13
Buy it from Createspace
I must confess that when some years ago I watched in disbelief the birth of a new site about
origami, my first thought was to try to guess how long it would last. It was Neorigami, led by an
unknown Colombian named Gerardo Gacharná. Over time, not only has his project become
stronger but it has also remained true to his purpose of including all the fans, experts and
professionals who wish to present their works and, besides that, he has encouraged the spread of
origami and creativity. Dissemination through his support as a member of the editorial group, an
electronic magazine called Mini Neo is today a benchmark in Latin America. The creativity of the
publication stems from the different challenges he has promoted over the years. And as a result,
the book I present to you here was born: PRACTIGAMI. With the ability to involve members of
associations and international forums, Gerardo proposed the challenge of creating paper models,
but with the added value of having some sort of practical application. Not surprisingly, Gerardo
himself has always been passionate about this type of paper ventures. The turnout was massive
and, once again, the restless and enterprising spirit of Gerardo made him take a step forward
putting together the most outstanding works in this book that he now offers to the entire origami
community.
The models are divided into eight chapters depending on their role in everyday life, whether for
home, garden, office, etc. It excels in its content: there’s a superb fireplace bellows, designed by
the author himself; an excellent garbage can that opens and closes by pressing a pedal by Ilan
Garibi; a funny nose for holding glasses invented by Jens Kober; and one cannot forget a wonderful
lamp shade from the Russian Ekaterina Lukasheva or some very intelligent condiment shakers
created by the Turkish Atilla Yurtkul.
The diagrams are very clear and were made by several authors which helped making this dream a
reality. The diagrams themselves also reflect the spirit of the project, that is, the union and support
of many people for a common goal: the dissemination of origami.
There are more than twenty models, gathered in 135 pages that will keep you entertained from
start to finish. It is published by an online "print on demand" publisher in order to reduce costs, with
the desire of getting the work to every fan. Original, didactic and practical... what more could you
ask for? The passion, dedication, and effort of the author has made PRACTIGAMI a reality which
will become an origami classic over time, if it isn’t one already. Buy it today!
-Halle
Editorial: Dear Roberto...

by Francesco Mancini
Meenakshi Mukerji
diagrams low intermediate math geometric
Dear Roberto...
I am the lucky owner of a very small part of Roberto Morassi's origami archive. For those who don't know him, Roberto is the founding
father of Centro Diffusione Origami. I have five folders full of materials he collected during the early days of his passion for origami. In
them there are articles, diagrams, letters on various fields of paper folding and fabric folding. The most interesting part is surely the mail
exchanges with origami luminaries such as Fred Rohm, Sam Randlett or Bob Neale in the subject area of the mathematics of origami.
I'm talking about the 1970s when the CDO wasn't born yet and, most of all, they didn't have the internet and the email, so the
communications were in pen or typewriter. They didn't have graphic design software so in the envelopes you can find hand- drawn
sequences and step folds of the models.
The first treasure I found is a method to cut out a regular heptagon from a square sheet of paper. It was discovered in 1975 by Jacques
Justin. I like the method because it's quick and easy. You can use it in order to fold something with this polygon for yourself or you can
use it as a teaching aid. The regular heptagon can offer various didactic ideas: it's a polygon that is not constructible by Euclidean
straightedge and compass geometry, some coins have 7 sides, there are cactuses with 7 lobes etc. You can also talk about the many
symbologies of the heptagram (Figure 1). Or you can play a heptagon scavengers' hunt game with your students.
Figure 1
You can see in the scan of the letter that Justin sent Roberto the diagram and the final shape with a message on it: "Dear Roberto, do
you know the folding of the regular 7-gon. It is based on the very precise relationship tg2π/7=5/4. Hope all is well for you. Best regards,
Jacques."
Figure 2. Click on picture for diagrams for the heptagon.
Decoding the relationship tg2π/7=5/4

I wanted to decode the relationship tg2π/7=5/4 in Justin's note above. 2π/7 is the size of the angle at the center of a regular heptagon
in radians. I will use degrees, so the internal angle is 360°/7. If we do some math, tan(360°/7)≈1.254 and 5/4=1.25, so the relationship
is precise to the third digit. But where does the 5/4 come from? I thought about it and I think I found the solution. I'm not a
mathematician so I apologize in advance for being crude. (Thanks to professor Francesco Fumagalli for the first review.)
Figure 3 is the sheet unfolded after step #5 of diagrams, I added an extra construction line to connect M to A by bringing point D to
point O (right). This will form the right triangle MBA. Let the side of the square be of length 1 unit. We know from folding the length of
the short sides: MB=1/2 and BA=5/8 (left).
Figure 3
From Trigonometry we have tangent of angle AMB, we call it x, is equal to the ratio of the opposite side to the adjacent: So tan(x) =
AB/MB = (5/8)/(1/2) = 5/4.
With the reverse operation, the arctangent, we can find the value of x:
x = arctan 5/4=51.34°, which is very close to 51.42° the angle at the center of a regular heptagon.
But in the figure x is not the angle at the center of the heptagon, MOC. We can easily calculate it.
If we consider the right triangle MCO (the angle MCO is right because, for the Huzita-Justin Axiom #2, the segment MA is the
perpendicular to the segment OC) the angle MOC is equal to:
180° [sum of internal angles of a triangle] -90° [MCO] - (90°-x) [OMC]= 180° -90°-90° + x=x.
So the angle at the center is equal to 51.34° too. We can say that we have a regular heptagon with a very good approximation.
Now that you have the heptagon you only need to search for a nice model to fold with it. It's not so easy to find such a model because
not many designers started with a heptagon, the only one who comes to my mind is Philip Chapman-Bell. But you can look for a model
from octagon or a hexagon and try to transpose to a heptagon. Then there will be a lot of choice from designs by Evan Zodl, Meenakshi
Mukerji, Dasa Severova, Christiane Bettens, Chris Palmer etc.
Happy folding,
Francesco
Regular 7-gon
Method by Jacques Justin.
Diagrams by Francesco Decio/ Francesco Mancini
based on the original
1 2 3
5/8
3/8
4 M 5 6 7
M
M O
A O A
A
O
M
A
Bring M to A Fold behind

Fold behind
8
9
O 90° A
M
A
Cut perpendicular to
M the bisector (O is not
the centre of the square)
O
10
O
A' A
Heptagon
O
finished
© Copyright 2014 by Justin/ Decio/ Mancini

Diagrams: Marquise
By Ekaterina Lukasheva
Edited by Meenakshi Mukerji
modular diagrams low intermediate math color-change geometric
Marquise is a 30-unit modular, though you could make a 12-unit assembly as well.
It incorporates color change with the tiny flowers of the reverse color of the paper.
In the photo, however, harmony paper has been used so some shading effect can
be seen in the star. The solid kami paper version of the design also looks nice.
Please click on picture on the right for diagrams.
Marquise
(c) Ekaterina Lukasheva, 2010. www.kusudama.me
1 2 3
Make two little marks
4 5 6
7 8 9
© Copyright 2010 by Ekaterina Lukasheva
t heF LD This document was published by OrigamiUSA’s online magazine, The Fold, with permission from the author.
10 11 12
13 14 15
16 17 18
Repeat the same

on the other side
Repeat the same

with the other side
19 20
Pocket
Flap
Put your ﬁnger underneath
the darkened area of the unit, Open up the petals
and collapse as shown
Hook the ﬂap

onto the pocket
Star assembly
To make the star

connect 5 units as shown Complete star
Ball assembly
Form triangular pyramid with 3 units
Top view
Connect units so that 5 of them

meet in the poins marked with stars
Angle variation
Change step 14 to following
Color change variation

Change steps 2-3 to following and proceed the other steps from the main diagram
Pocket
Flap
Make two little marks
Crease Patterns: 3D Wall and Octet Truss

by Robert J. Lang
edited by Thomas Hull
crease patterns complex corrugation tessellation design techniques
One of the classic designs of origami tessellation is Momotani's Wall (see the Origami Database for the many books in which it has
been published).
Momotani's Wall, crease pattern. Momotani's Wall, folded form.
It is an example of a counterrotating square twist tessellation, composed of square twists that rotate in alternate directions relative to
their neighbors. With suitable choice of crease assignment, this crease pattern has the appearance of a flat brick wall; it is a simple
example of a flagstone tessellation, in which the polygons of the front surface meet edge-to-edge, rather than overlapping.
Today's crease pattern is inspired by Momotani's Wall: it is a 3D brick wall. The 3D-ness considerably enhances the illusion of distinct
bricks.
3D Wall, front. 3D Wall, angled.
A particularly nice feature of Momotani's design is that it has a straightforward folding sequence from an unmarked square. Like many,
perhaps most 3D tessellations, however, this 3D Wall does not have a linear folding sequence, nor are the reference points easily
located. The best way to fold it is probably to print it out and precrease, or, if you like, use a scoring machine to score the folds. (A
vector PDF is provided for those who would like to machine-score.)
3D Wall, crease pattern. Click for a PDF.
The elements of the crease pattern of 3D Wall mirror the elements of Momotani's Wall: there are sets of rectangles that form the front
and back faces of the structure and trapezoids that connect the two sets, which are analogous to the trapezoids of a counterrotating
twist tessellation. These panels remain planar in the folded form (although in the case of the trapezoids, they are tilted in the 3D
structure). An interesting situation arises with the remaining polygons, which are rotated squares analogous to the central squares of
the flat twists in Momotani's Wall. In 3D Wall, though, they are distorted into tetrahedra, and in order to take this form, it is necessary to
add a pleat (or similar structure) along the diagonal of the twisted square.
The original Momotani Wall was iso-area: if you turned the crease pattern over and rotated it by 90 degrees, you got the same pattern.
This pattern is not iso-area, because the tetrahedra break the symmetry. However, you can transform it into an iso-area pattern. Each
tetrahedral "gadget" has four possible orientations. The "crimp" running across the tetrahedron can occur in two ways, with the angled
valley fold to the left or right of the straight mountain fold; and also the crimp could run along the other diagonal (with a straight valley
fold and an angled mountain fold). By rotating half of the crimps and setting their crimp direction, the crease pattern can be made truly
iso-area, a symmetry that extends to the folded form. If you look at the back side of the 3D Wall, it is the same pattern as the front side,
but rotated by 90 degrees, i.e., the bricks run vertically.
This tetrahedral gadget is one I developed several years ago, when I was investigating structures for a client who was interested in
truss-core panels. A famous structure in mechanical engineering is the Octahedral-Tetrahedral truss, a.k.a. the oct-tet truss. Several
origami artists (notably David Huffman) developed origami versions of this structure, sliced along a plane parallel to a family of
equilateral triangles. I was interested in a slice along a square plane, like this:
An octahedral space frame. From Wikimedia Commons.
And so I developed an origami Oct-Tet Truss, shown here.

Oct-Tet Truss, crease pattern. Click for a PDF. Oct-Tet Truss, folded from Wyndstone Marble paper.
This design folds very nicely from Wyndstone Marble paper, but when folded from mylar, one can see the octahedral/tetrahedral
structure clearly in the interior.
Oct-Tet Truss, folded from laser-scored Mylar.
Like 3D Wall, this, too, has an analogous flat twist structure, which in this case is an array of unidirectional square twists. And also like
its 3D brother, the precreasing is tedious and the collapse is a challenge — but well worth the effort.
Interview: Uyen Nguyen

by Wendy Zeichner
Edited by Jason Ku
exhibition interview
A view of the gallery. Photo: Duks Koschitz.
The origami exhibition, Surface to Structure: Folded Forms, took place at The Cooper Union
in New York City from June 19 – July 3, 2014, featuring more than 130 works from 88 artists
around the world. There were over 3,000 visitors in the two-week period. The curator was
Uyen Nguyen, a recent graduate of Cooper Union.
This exhibit is an amazing accomplishment for anyone, but especially for someone so
young and with no prior experience in curating. This is Uyen Nguyen’s story. Uyen’s name
(pronounced "win") is of Vietnamese origin, and she often goes by her nickname, Win-Win.
Recently we were able to ask her a few questions about her experience.
WZ: Can you tell me something about your background? Where did you grow up?
What was your first encounter with origami?
UN: I grew up in Salt Lake City, Utah. When I was in the third grade, my family travelled to
Uyen Nguyen. Photo: Wendy Zeichner.
Vietnam where my cousins taught me the traditional lily. That became my favorite model
and throughout the rest of my time living in Utah, I would constantly fold lilies in my spare time - old homeworks, quizzes, many of them
became lilies.
WZ: What did you major in at the Cooper Union?

UN: I majored in Mechanical Engineering. I gained greater interest in geometric forms, taught myself about platonic solids and other
polyhedra, and through that became interested in modular origami to model these forms. My sophomore year I started an origami club
at Cooper, not because I was deeply involved with origami but because I wanted to meet new people, make new friends, and do
something kind of fun while we were at it.
From the Representational Section. Photo: Duks Koschitz.
WZ: What deepened your interest in origami?

UN: In 2012, I learned of OrigamiUSA and the convention at FIT. I decided that was something I couldn’t miss out on, and I had to
check it out. Attending my first convention, I would solidly say, was the turning point for when origami transitioned from a casual side
hobby to my greatest passion, the central focus of my life, and what I want to pursue as a career. That is when my involvement with
origami became as intense as it is today.
WZ: Now that you have graduated, what are your plans for the future, long term and short term?
UN: I currently work as a researcher at Cornell University under one of the NSF EFRI-ODDEISEI grants for origami as it is applied to
physics. One of my projects uses the Miura Ori pattern to study a phenomenon called percolation rigidity. I am also studying the
mechanical characteristics of a structure I developed very similar to Tomoko Fuse’s Pako Pako. I look forward to gaining expertise both
in origami and in the technical field. I don’t yet know what I’d like to do after my year at Cornell or as a career but I definitely would like it
to be centered around origami, and am exploring all avenues, as an artist, curator, and now, researcher.
The Modular Section. Photo: Duks Koschitz.
WZ: Tell me how you decided to create the exhibit at the Cooper Union.
UN: I have had aspirations to be an artist since I was very young, and while an engineering student at Cooper, I would see the shows
that art students would put on, and I longed to put on a show of my own. As my passion for origami grew, my desire to put on a show
morphed to become one specifically for origami. Having an origami exhibition at Cooper was very meaningful to me for a number of
reasons:
The Cooper Union is a major part of the history of origami, the first ever exhibition of origami artwork in the USA was held there –
an exhibit called Plane Geometry and Fancy Figures. It ran at the Cooper Union from June 1st to August 31st, 1959. One of
OrgiamiUSA’s founders, Lillian Oppenheimer played a major role in organizing this exhibition. Arguably, this exhibition, certainly
Ms. Oppenheimer’s efforts, catalyzed the spread of origami throughout the United States. Being of great significance, I wanted to
pay homage to this first exhibit, and what better way than to have another one housed in the same institution?
Origami was initially pursued purely for its artistic value. Recently, there have been discoveries of scientific applications, like
programmable matter, and the design of air bags and solar panels. It is an art that generates science, and without this art, these
kinds of sciences would not be possible. Likewise, science also gives back to the art, through innovations in machinery and
chemical processes used in papermaking, allowing the origamist control over the medium to have specific properties, like
thickness, strength, stiffness, texture, and color. Computers have also revolutionized origami, allowing for automated design and
precision scoring of crease patterns. I greatly appreciate in origami that the dialogue between art and science goes both ways, and
is not just a one-way street. Given its strong ties to art and science, I think it highly appropriate that an origami exhibit be hosted in
an institution which nourishes both art and science instead of focusing on one or the other. The Cooper Union for the Advancement
of Science and Art is such a place.
WZ: Was this exhibit for class credit? A senior project?

UN: This exhibition was not related to my coursework or school curriculum in any way. I didn’t do it for credit or as a senior project. In
fact, I did it while I was doing my senior project, and I don’t think I’ve ever worked so hard in my life. There was no faculty advisor
overseeing the exhibition.
Lion by Hoang Tien Quyet, Fluid Dynamic by Richard Sweeney, Vole by Bernie Peyton.
Photos: Christopher Bierlein.
WZ: How did you contact the creators to get models for the exhibition? When did you begin contacting people?
UN: I sent out an email via the O-list and OrigamiUSA members list announcing the exhibition and that submissions were now open via
the Surface to Structure website. We also emailed personal invitations to specific artists whose contact information we had (there are,
of course, many amazing creators that were not yet on my radar, or who I couldn’t reach). I also know roughly how to read and write
Vietnamese, so I posted an invitation to participate on the forum of the Vietnamese Origami Group.
We did not put the call out until early in April 2014. So we only had about 2.5 months to do everything! The submission deadline was
April 12 and the exhibit opened on June 19. We got over 200 submissions, and I was astounded by the quality. The final show had 134
submissions accepted.
Works by Gachepapier (left & right) and David Brill (center). Photo: Duks Koschitz.
WZ: How did you decide which to choose? What were the criteria?
UN: People submitted photographs of their work and we based the selection on the photos and not on names of the creators. I wanted
this exhibition to be an educational one and showcase the large scope and diversity of origami. I didn’t want to just include the work of
masters but also the work of upcoming artists. I think our youngest artist was Sejin Park, from Korea, age 14. I also wanted to
encompass different techniques and genres of the art.
Once we decided which models we wanted to include, we organized them into groups because we wanted to form a cohesive narrative.
There were some really quality works that we could not accept because they did not fit in with other accepted submissions.
WZ: There were a lot of different sections, weren’t there?

UN: Yes, we had some historic models from Akira Yoshizawa and Giuseppe Baggi. Other sections included representational, modular,
scientific, mathematical, fashion, tessellations, pleats & corrugations, and paper & metal.
WZ: It was very well done. What kind of curating experience did you have before starting this project?
UN: None at all. I based this work on my knowledge of origami and also what I found to be aesthetically pleasing.
WZ: Thanks so much for this interview and for creating that amazing exhibit. I am glad to have you in the origami community
and look forward to seeing your future work.
UN: Thanks for interviewing me! This was a really meaningful experience for me and it felt so wonderful to see the joy that visitors
noticeably portrayed. People came from around the globe to see it – some made international trips specifically for the exhibition and
said it was well worth the visit. The comments in the guestbook are quite wonderful too, and at some point when I have time, I’d like to
scan the pages and upload them to surfacetostructure.com so that everyone can review comments (blocking out personal info like
emails). Some of the feedback I got was along the lines of “You can’t call this origami. Origami is just simple geometric animal shapes.
This is real art, not origami.” In the guestbook people wrote things like, “I thought origami was just paper cranes. How very wrong I
was!” One of my goals with the exhibition was to change the perceptions of people who didn’t consider it to be a genuine art form, and
so feedback like this makes me really happy because I know it was a success.
Interview conducted by Wendy Zeichner

Origami U.S.A. - The Fold - Issue 24 (September-October 2014)

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September–October, 2014

Origami Designer's Secrets: Anja Markiewicz

Imagine your whole

What papers do you

Name Anja Markiewicz AKA Anya Midori

Place of residence Potsdam, Germany

Profession Occupational Therapist/Origami Artist

Email kontakt [at] faltsucht [dot] de"> kontakt@faltsucht.de

Miniature origami with Anja

© Copyright 2013 by Anya Midori

© Copyright 2013 by Anya Midori

© Copyright 2013 by Anya Midori

© Copyright 2013 by Anya Midori

Thank you and Happy Folding!

Open and squash.

Repeat steps 7 and 8

14 Make the head.

© Copyright 2013 by Jason Ku

Fold the triangle Back side view.

Inside reverse fold.

Make outside reverse

Make inside reverse fold for hand

© Copyright 2013 by Jason Ku

Diagrams: Decorative Cubes

Paper Review #22: Karaperapisu

Lyrebird by Satoshi Kamiya, 30.5×30.5cm

Dwarf by Eric Joisel, 30.5×30.5cm

A perfect paper for insects.

Why should you buy it?

15cm, 20cm, Glittery;

Editorial: Dear Roberto...

Decoding the relationship tg2π/7=5/4

Bring M to A Fold behind

© Copyright 2014 by Justin/ Decio/ Mancini

Make two little marks

© Copyright 2010 by Ekaterina Lukasheva

Repeat the same

Repeat the same

© Copyright 2010 by Ekaterina Lukasheva

Hook the ﬂap

To make the star

© Copyright 2010 by Ekaterina Lukasheva

Connect units so that 5 of them

© Copyright 2010 by Ekaterina Lukasheva

Color change variation

Make two little marks

© Copyright 2010 by Ekaterina Lukasheva

Crease Patterns: 3D Wall and Octet Truss

Momotani's Wall, crease pattern. Momotani's Wall, folded form.

3D Wall, front. 3D Wall, angled.

An octahedral space frame. From Wikimedia Commons.

And so I developed an origami Oct-Tet Truss, shown here.

Oct-Tet Truss, folded from laser-scored Mylar.

Interview: Uyen Nguyen

A view of the gallery. Photo: Duks Koschitz.

WZ: What did you major in at the Cooper Union?

WZ: What deepened your interest in origami?

The Modular Section. Photo: Duks Koschitz.

WZ: Was this exhibit for class credit? A senior project?