TANTEIDAN ~~ BAE=BBONIVYIEXLyY (PD) PS Fujimoto Shuzo’s Books Being Public-Domain BA / Nishikawa Seiji j woo7u—2 Santa Claus Mitsuda Shigeru A ¥! \ » g | Ee to 1/3 SS e » Panda: Inayoshi Hidehisa CCH E Tee Se! Ww Ushiwakamaru: Yamamoto Taiga CS ee (ARLIMSY NAD Cactus (in the Style of Canela): Kawasaki Toshikazu Cire ed ea ie ee ee (RB Toki: Japanese Crested Ibis: Ikuno Riku [PhOIDS| RBA Humpback Whale: Morisawa Aoto es s ~amma ‘PZ (JOAS) OBE ‘The Purpose of Japan Origami Academic Soci OG S-B 2c BH BK ROB 1. AOR AARMRER LETS. 2. ABORHCORMIS, Japan Origami Academic Societye +S. 3. AROMPIE, JOASE TS. Boe S08H 1, BSL, HY MOMMA EA VMOBRORE TSU, TS EHLTOR BA, AO VRB E ORAM REE AE TS. 2. RAOHVMRORMTARES, MUROME HUKOMMRMOMR, KU RICMTS SRF - FRR, CPUS, MOAT, ER «RAN, MMO, TH RTT A LORRE ERT 3. 3. BROHVROBRES, HV GOUSMRALOG LEG. HV CSABOLAT HVT SAMOMME RES ERIRTS, exten rm Chapter 1: Name and Purpose Article 1: Name 1. This society is to be called Nihon Origami Gakkai in Japanese, 2. This society is to be called Japan Origami Academic Society in English 3, The abbreviated name of this society is JOAS. Article 2: Purpose 1 The purpose of JOAS is to promote studies of origami, diffusion of origami, and both ‘domestic and intemational association of all origami-lovers. 2. The studies of origami mentioned above includes designing, designing techniques, criticism, mathematical studies, educational studies, history, bibliography, studies of the intellectual property rights, studies of industrial and commercial design, and so on. 3. The diffusion of origami mentioned above includes widening appreciation of origami. expansion of the community of origami-lovers, scouting and rearing the origami talent, and soon, @HVBOWRRS symsois ror FoLvInG 2 eee 3 nee cae em A 1A SMHS | RBAHS HOBE an Lune nesting Line indeating Fold paper Fold paper 3s Pleat fold ‘aly foie mountain old forwards beckwars Mating a eeaze tne AOR =D S => : > x Rat Bent ORS Brxecas RACY at. es al Tae e ne eae ee eee cae Atle eae RARER: DRLUMTY, AIM NRE, Us BIEBER, RBA MUP UA, 97 Cover Photos 2, AIMEE 2%, ORM, RIES BB, “YhODSS, AIRE A “Cactus (in the Style of Canelé)” by Kawasaki Toshikazu, “Panda” by Inayos! “Ushiwakamaru” by Yamamoto Taiga, “Santa Claus” by Mitsuda Shigeru, “Toki Crested Ibis” by Ikuno Riku, “Humpback Whale” by Morisawa AotoM PA IIyhRDEDILF Yb Modular Origami Quartette DAVORTY Cactus (in the Style of Canolé) P8 SOMBRS TH Origami Odds and Ends Yamaguen Makoto Ne Panda CEES EET] Pid BAB=ERBONIUY| Pls (SC SISTA (dll KX y (PD) Hare We Ao, THE ORRRIGAMI TANTEIOAN Fujimoto Shuzo’s Books Being eas Public-Domein Origami Sampo in Ehime Blea) Sta ee Nishikawa Seiji P18 FHM MBROAHD'S KERRIES 4D El Diagrams and Crease Pattern From the Bookshelves of the JOAS Library << P26 REBSEIHTDIC HR! 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CHER, SPUPORELARE Michat Kosmurski started origami when he was 11 years old and learned about unit origami at the end of 1999, which became his main interest in origami for many years. He discovered tessellation in 2015 at the first convention he attended. Soon, he began designing new models. He started presenting his works on web pages, and in 2017, he tried to obtain permission to teach at a convention, Shuzo Fujimoto’s "Hydrangea", one of the origins of tessellation. He was able to contact Fujimoto's family through OAC (Origami Authors and Creators: a group dedicated to discussing origami copyright information, supported by David Brill and several other artists) Shuzo Fujimoto was born in 1922 and died in 2015 at the age of 93. This time, the following five self- published books of which only the surviving family members can be considered as heirs have been made into PDs (photo): “Solid Origami’ (1976), "Twist Origami 1" (1978), "Twist Origami 2" (1983), "Twist Origami 3" (year of first edition unknown), "Invitation to Creative Playing with Origami (1982). All pages of the books can now be viewed on the following website. https://archive.org/details/invitation-to-creative- playing-withorigami Under the intellectual property laws of many countries, copyright is maintained for 70 years after a person's death, and unless special procedures are followed, the copyright will be inherited by the surviving family. As a result of this project, it was made into a PD about 62 years earlier, and the news was reported in OrigamiUSA's web magazine "The Fold", becaming a hot topic on the Internet in Japan. Public domain (PD) is a kind of legal term, so it may be necessary to provide a slightly confusing explanation. PD refers to a state in which intellectual property rights are not applicable for intellectual creations such as copyrighted works or inventions (the period of protection of the rights has expired or the rights have been abandoned). Here, we will focus on intellectual property and provide general points of caution. At the very least, a copyright that has become 2 PD means that there is no one who can exercise the property rights, so there will be no demand for an injunction against use or a claim for damages based ‘on copyright infringement. In general, itis considered that anyone can freely copy, adapt (create derivative works), etc, and use copyrighted works. However, care must be taken not to infringe on moral rights, which are not subject to waiver in many countries (such as misrepresenting the work as the user's original work). In addition, even if a copyright has expired, it may not necessarily mean that other intellectual property rights have also expired. For example, there may be cases where someone uses a copyrighted work as a trademark, or there may be cases where the work is protected multiple times by copyright and design rights, such as works of art. Additionally, since the content of laws differs depending on the country, if a work is said to be PD, itis necessary to refer to the law of that country for the specific handling of PD works. To promote the proper use of copyrighted works, the non-profit international organization Creative Commons (CC) makes various efforts to make it as easy as possible, a license has been developed for authors to express their intention to allow the reuse of their copyrighted works. The presented PD version is in accordance with a series of Creative Commons licensing guidelines, and no specific lawyers or other legal professionals were involved. The CC Guidelines also include a cautionary note to consider PD works considering the laws of each country (https://wiki. creativecommons.org/wiki/CCO_FAQ). A year has passed since the news of PD, and we interviewed Mr. Kosmulski, who led the project, about the good things and hardships. Q1: What was the reaction of the bereaved family? Mr. Fujimoto's son was very happy that there was someone to analyze his father's legacy. He kindly accepted my suggestion that | consider making Shuzo Fujimoto's book into a PD. At this time, | explained what it meant to make a book into a PD. As is often the case with works such as digital illustrations, | am not aware of any precedent for cases involving origami, but with reference to the CC guidelines, this includes legal texts and provisions of laws that differ from country to country. | explained that it is included and makes the act of putting something in a PD more formal Q2: Please let me know if there are any guidelines for using PD (handling of author's moral rights, etc.) The Creative Commons document (CCO) outlines usage guidelines (see above). Treatment differs slightly depending on the country; in Poland, moral rightscannot be waived even if the author wishes to do so (*). Creative Commons CCO allows you to do whatever you want with a work, but only within the scope of applicable local law. Under the Polish law, you cannot claim that you wrote a work that was created by someone else. This is because doing so would violate the author's moral rights and cannot be waived. “This also applies to Japan, 3: Please let me know if you have any inquiries or reactions after the announcement. Several people wrote to me saying they were happy that Fujimoto’s works were now more widely available. My social media post announcing this information received more engagement than average (likes and comments). There were no negative comments. Looking at social media, | noticed that YouTube had a number of new video tutorials created by people who have read the model instructions in these books. Q4; Please tell us about the difficulties, positive points, and challenges you faced while working on this project. Shuzo Fujimoto's family was very supportive and ‘were happy for his works to be released into the world, | already had a few books, but | had a hard time finding *Solid Origami.” | finally found it on the Kim's Crane online shop, and | think it was literally the last book for sale on the English internet. To digitize the book, | had it scanned by a professional. It was out of my own pocket, but it wasn't a huge amount. There were two issues. The first was that these books are old and not necessarily easy to understand. Many models are only briefly described and can require a lot of effort to fold it. | analyzed many models, but most of this research is not published. | don't have time to make this research suitable for publication. Another drawback is that everything is written in Japanese. | use Google Translate to automatically translate fragments, but the English translation is like garbage, and | may have missed some information. Second, we were only able to publish 5 out of 8 books this time. Those five books were self-published by him, and no publisher was involved. Therefore, all copyrights belonged to his heirs, and if they agreed, they could publish it as PD. However, the other three books were published by a publisher. These books have fewer models, but are more modern, have clear explanations, and are easier to understand Unfortunately, the publisher no longer exists. | think it would be great to be able to share these [remaining] three books with the world as | did the fist five, The transformation of copyright into PD occurs through declarations made by the author during his lifetime, declarations made by his heirs, or the expiration of copyright 70 years after his death (in many countries). With the exception of the expiration of the protection period, the expression of the rights holders will be most important. Copyright is broadly divided into property rights and moral rights, and if itis used in a healthy manner based on respect for the creator (with consideration for moral rights), PD conversion becomes a great social asset. This project has a background in the history of research and evaluation of Fujimoto's works. Mr. Kosmursky has created a list of Fujimoto’s works as shown below (*) and has published it on CFWé (Catalog of Fujimoto's Works, the origami version number by Kosmulski). In addition, activities such as the BOS magazine, which praised the high quality of Fujimoto's works shortly after its release, and Project F, which aims to spread the word about Fujimoto's work, are supporting him. For works converted into PD, consideration must be given to the identification of PD works and the rights of derivative ones, for example, attention to the scope of diagrams and arrangement works created with new devises to reproduce PD works. There are some things that need to be discussed, but if we consider that the existence of PD works is proof of their copyright, there is much to be learned from converting highly creative ‘works lke this one into PD. This project has a background in the history of research and evaluation of Fujimoto's works. Mr. Kosmursky has created a list of Fujimoto's works as shown below (*) and has published it on CFW# (this is the origami version of the Kéchel number). In addition, activities such as BOS magazine, which praised the high quality of Fujimoto's work shortly after its release, and Project F, which aims to spread the word about Fujimoto's work, are supporting him. For works converted into PD, consideration must be given to the identification of PD works and the rights of derivative works, for example, attention to the scope of diagrams and arrangement works created with new devises to reproduce PD works. There are still some things that need to be discussed, but if we consider that the existence of PD works is proof of their copyright, there is much to be learned from converting highly creative works lke these ones into PD. (*) https://docs.google.com/spreadsheets/d/1d 9jBwBooU 1zMYIUSeF OflkoucEAZNukKTvxF wtWt9k/ editigid=0 List of Figures: Page 15 bottom right: Books converted into PD (From Kosmursky’s website) 3a(Page 16) Here We Are, THE ORRRIGAMI TANTEIDAN This section will explore a wide range of topics related to origami. Let us know of any questions, and additional information from readers. Please, feel free contact us via email webman@origami.gr.jp. #68 - Origami Sampo in Ehime By Jun Maekawa Jun Maekawa = This is the second consecutive issue of “Origami Sampo” It's been 20 years since | went to Shikoku. Twenty years ago, | took a photo of a manhole cover in Kawanoe (Shikoku Chuo City) with an origami crane design and climbed the long stone steps to pay my respects to Konpira shrine. That was my first trip to Shikoku, and | haven't had a chance to go since then. | didn't know many people there, and it was a somewhat unfamiliar place. However, recently my niece's couple moved to Omishima Island (Imabari City) in the Setouchi Inland Sea and opened a hamburger restaurant using locally produced wild boar meat, so | decided to take advantage of the opportunity to vi them in Ehime Prefecture, which | had been interested in for some time. | started planning a trip to see “origami real estates.” @ Giant origami crane First up is the giant origami crane at the JA Shuso Tano Women's Department Fureai Direct Sales Office in Saijo City, about 40 kilometers east of Matsuyama City, This is just so big. It's easily recognizable on Street View, and it's clearly visible in aerial photos. it may be possible to see images from satellites even if they are not equipped with high-resolution cameras. It is about the same size as an airplane, with a wingspan of about 10m and a height of about 8m. | have seen many origami objects, but this one can be said to be the biggest one, A rough calculation shows that it is an origami crane made by folding a square the size of 60 tatami mats. Of course, it was not actually made by folding a sheet of metal but rather, by welding several steel plate parts together. Although the details are unknown, it is said to have been made by a local ironworker and installed in 1992 as a landmark for the direct sales store. According to Saijo City’s public relations and old articles in local newspapers, in 2011, students at Prefectural Toyo High School, a local technical high school, removed nearly 20 years of rust and painted it red. It seems that this was also the case. Small eyes are also drawn on it, giving ita strange charm, This direct sales office with an origami crane as a landmark is commonly called a “Tsuru Direct Sales Office,” and the origami crane is also drawn on their receipt. It's only open on Saturdays and Sundays, so you'll need to pay attention when visiting, but in addition to agricultural products, they also sell second- hand books and old tools like in a flea market. @ Origami vending machine Next was an origami vending machine located in Uchiko Town, about 40 kilometers south of Matsuyama City. Some people may know it because it was introduced on a TV show. This is a unique and only type of vending machine you'll find anywhere else in the world. Even though we say “origami, they are not selling origami paper. Folded models like a Shuriken and Jumping Frogs are sold for 10 to 50 yen. Itis installed in front of Okano Shoten, the only store in the area that sells daily necessities, and a repurposed cigarette vending machine. There are no other vending ‘machines in front of the store. ‘There is an elementary school nearby, but the main customers seem to be tourists from far away. | was one of them, Unfortunately, when | visited, the store was closed with a sign saying: “We will be closed today,” but you could say that vending machines are perfect for times like this. According to an online article, annual sales average 1,000 yen. There were two empty boxes in the bag next to the sign that said: “The outer box can be recycled, so please leave it behind." There were already 2 boxes in the bin, plus 3 more from my wife and |, therefore 5 units were sold on these days. The question that comes to many people's minds is why they installed an origami vending machine. Part of this question was answered by posters for workshops and sales events posted next to vending machine. This is related to the fact that Uchiko Town is a producer of Japanese paper called Ozu Washi. There is still a workshop making handmade washi paper in the town, which has become a traditional industry in the area. In traditional paper producing regions, there are those who are interested not only in origami but also in paper craft culture. This is what | felt in Ogawa Town, Saitama Prefecture, which was presented in the previous article. it makes sense when you consider that Okano Shoten’s vending machines also have such connection to local culture, By the way, in the center of town, a restaurant ina renovated old folk house was also decorated with seasonal origami creations. @ Toyo Ito Architectural Museum Although it is not directly related to origami, | would also like to introduce the Toyo Ito Architectural Museum located on Omishima, one of the islands along the Shimanami Kaido that connects Imabari City, Ehime Prefecture and Onomichi, Hiroshima Prefecture. This facility displays architectural models created by the famous architect Toyo Ito, and the museum itself can be considered an exhibit. There are two buildings named Steel Hat and Silver Hat, and the former is a must-see for polyhedral enthusiasts. It is a combination of a tuncated tetrahedron, a truncated octahedron (part), and a cuboctahedron (part). | also want to livein a house like that. It seems like a lot of maintenance though. In addition, Kanazawa Seika (lyo City)'s gift packaging with curved folds was so beautiful that | couldn't resist buying it even though it was quite large. And at Fukuyama Station on the Shinkansen, the starting point for this trip, | found a mural of Fukuyama Castle decorated with 11,340 origami cranes created by students from Kindai University Hiroshima High School and Junior High Schoo! Fukuyama Campus. If you travel with origami information on your mind, you will always come across something, List of Figures: Page 16 Bottom: Left=Origami (2) property in Ehime Prefecture; Center=JA Shuso/Tsuru direct sales office (Saijo City); Right=Origami vending machine (Uchiko Town) Page 17 top-right - Toyo Ito Architecture Museum (Omishima, Imabari City) (Page 17) Makoto or Not? Memoirs by Makoto Yamaguchi Part 4 - How the Crease Pattern Folding Started Nowadays, Crease Patterns have become commonplace, and to put it bluntly, they are spreading all over the world. As far as | know, | think it started with Kosho Uchiyama. For some reason, | couldn't find anything presented as a crease pattern before then. | think there are many people who don't know who Kosho Uchiyama was. His father was Koko Uchiyama. “So what?" | think many people would say. But Koko also published several books and had patents for many of them and was an innovative person in terms of Koko- style origami. However, the models included cuts, so in response to this issue, Kosho published a book called “Pure Origami (Kokudosha, first published in 1979). ‘And some crease patterns of the works were included. Uchiyama's crease patterns were not the complex system that is currently becoming popular. When Origamihouse was established, Toshiyuki Meguro, who became interested in the subject, introduced me to crease patterns. Meguro's works at that time were a series of cutting- edge complex models, so it was difficult to make them into diagrams. Therefore, were introduced as crease pattern drawings. There is an example that was. introduced as crease pattern special feature in the $7th issue of Tanteidan Magazine. At that time, Meguro even went so far as to say that future origami books would only contain crease patterns. Therefore, the “Crease Pattern Challenge” was started in Origami Tanteidan Magazine. This project was truly a challenge to folding the crease patter. Ifyou consider the situation where the term "crease pattern’ was coined, we may be getting closer to reality. For reference, the model in which Meguro's crease pattern were introduced in Crease Pattern Challenge of the magazine: Swallowtail, Volume 10 Issue 57, published on September 25, 1999. A model presented in the special feature that challenged the crease pattern folding: Parent and Baby Crab is the Volume 14 issue 82 of the magazine, published on November 25, 2023. List of Figures: Page 17 bottom right: From "Pure Origami" (Page 18) From the Bookshelves of the JOAS Library Book #92: ““Origami Works of Takashi HOJYO” by Hojyo Takashi Article by Kango Kariyazono Kango Kariyazono = Born in Kagoshima Prefecture, in 1993. At the 28th Origami Tanteidan Convention, received an autograph from Takashi Hojyo for the "Takashi Hojyo Origami Works"! So happy! A treasure! Lntroduction} I'm sure | have not met many of you, so first Id like to introduce myself. Then | will go on an article about presenting a publication. I spent about 10 years, since when | was in the upper grade of elementary school, when | came across Takashi Hojyo's website “Contemporary Origami” (Figure 1) through TV Champion, until | obtained the diagram in a back issue of Origami Tanteidan Magazine. | am a troublesome “otaku! (nerd) who continues to interpret Hojyo's models with my own unique interpretations and use Hojyo's works as the foundation of my own original origami. Folding Hojyo's models just by looking at the final folded work? You may wonder about that. But although the website “Contemporary Origami" does not offer the crease patterns, it provided information like "64x64grid" as well as various photos of the model in progress and prototypes, so it was not impossible to fold it. Well, that never happened. Looking back on it now, | think it was insane for me to continue trying for about 10 years, but it can be said that Hojyo's models had a charm that drove people crazy. This introduction is long, but for the above reason, the book | would like to introduce this time, "Collection of Origami Works by Takashi Hojyo (Fig. 2), is a book that | have been waiting for to be released. And while | was really looking forward to it, | also felt alittle scared. When comparing my interpretation of Hojyo's models, which | had been developing in my own way for about 202810 years, with the interpretation of the creator himself, Takashi Hojyo, | felt that the very basis of my origami might be overturned. For this reason, | did not jump into this book immediately after its release. However, when | gingerly opened it, my fears were unfounded. This is because while this collection of works serves as a basic diagram book that allows you to arrive at the finished model just by following the diagram instructions, it also provided a blank space that allowed the creator's own interpretation to enter the unspoken process. It was a wonderful collection of works [Contents of the collection of works} Diagrams of 11 human figures models (a few more if you include different patterns) are included (Figure 3). A sense of unity is created as a collection of works by narrowing down the models included to portraits of people. The diagrams carefully show the basic form of folding the crease pattern, and even just how to make the pre-creasing, so the diagram that can be called a guidebook for folding the crease pattern. The shaping process after folding the crease pattern is also carefully illustrated, including three-dimensional drawings, and the level of finishing that can be achieved just by the steps described in the diagram is extremely high. Despite the complexity of the finished model, you may even feel that the diagram was easy to follow. Additionally, the book contains diagrams of the structure and finish of the faces, hands, fingers of a considerable variety of human figures, making it a highly valuable book as a “parts collection” that can be used in one’s own creations. The list price of 4,000 yen is too cheap for all this. There is no way not to buy it. Why didn't | jump on it sooner? So, from now on, | will present three excerpts based ‘on my own interpretation. The readers of this article may have their own interpretation of Hojyo's works, and of course there may be some interpretations that are far from the creator Takashi Hojyo's interpretation (and some of them may be rude), but please, take it with a pinch of salt, and consider this article as on “otaku” nerd expressing his own opinion. [Archangel Gabriel} ‘A work that decorates two areas: the inside cover and the back cover. Hojyo's works include both box- pleated-base and angle-base designs, and this work is representative of the former. The diagrams explain the high-density pleating technique, which is often used not only in box-pleating figures but also insect, how to bring out small edges such as fingers, how to bring out and fold internal corners, with detailed intermediate diagrams. For this reason, although only two of the 11 models in this book have diagrams for high-density pleats-based models (this and “Violinist’), this book has the aspect of being a guidebook for box-pleated models. Once you can fold the box-pleated figures in this book, you will be able to create models such as "Gabriel's version 3 (Figure 4)", "Aquarius (Figure 5)", and "Angel drawing a bow (Figure 6)" included in the magazine. It will make it easier to fold the crease pattern of the box-pleated figure models. However, as | mentioned at the beginning, the essence of the models lies in the unspoken process beyond the completion, which takes nearly 200 steps. For example, the arms in this model are made as separate flap from the elbows onwards. In addition, you need to think about how to arrange parts such as wings and wrists, and how to finish the pose so that it looks like itis coming from the shoulders. Also, regarding the large flap that is folded out from the center of the paper and appears in front of the chest, there is no mention of what it represents and whether it is placed at the front of the model. Therefore, you are required to finish according to your own interpretation. You can simply express it as a part of clothing, or you can make it into an item such as some kind of document or book to announce the Annunciation, angel wings, or have the arms in a hugging expression. In addition, we require training and trial and error to catch up with the ideal Gabriel that you want to express, such as how to make it stand on its own, and gluing and wet folding to control the opening of the pleat-folds. it can be said that this is a wonderful diagram that allows you to experience the fun and difficulty of training, trial and error. [Kendo Swordsman} The visuals of the kendo masks are impressive, and even if only the kendo masks were taken out, it would probably work as a model (they appear as accessories in the diorama in TV Champion), but the important thing is that this model focuses on the character of the “kendo swordsman’, included in this book as human figure. For example, is he what is under the Kendo mask? Is it her? Is it young? Is it old? Is the expression joyful of victory? The regret of defeat? A commitment to making the viewer aware of the existence of unknown information is required. Because it maintains the balance of being a human figure while having a strong icon of the kendo mask, it allows both the artist and the viewer to interpret the model, and it can have multiple different interpretations. It is a form with hidden potential. | would like to convey to those who take on this model that the challenge of this work lies in whether it can convey the charm of its form to the viewer. [Shibaraku] It is an extremely difficult piece of work that decorates the cover of this book, with a total of 465 steps, and the pre-creasing alone has over 100 steps. It is said that it was considerably simplified whenremaking from the crease pattern version to the diagram one, and it is true that the proportions of each part have changed when compared to the crease pattern version. Even so, if you create so many creases before folding, you might be tempted to argue that it's essentially a crease pattern folding, But if you try folding the crease pattern first and then try this diagram, you'll feel the significance of what was done to become a step-by-step diagram instruction. For example, a large katana-sword held at the waist has two edges connected to form a single sword, but the flow lines of the edges and their joints are not hidden with other parts, and a considerable amount of process is required to shape the clothing, In addition, there are illustrations of how to use each flap on the back, which was easy to trip over when folding out the crease pattern and thinking, “The edges have come out, but | don't know what they are."| obtained four flaps that would represent the *Nio" Sash Ring. The instruction{on the diagram] says to “adjust it So it looks like a bow,” so | feel like making the flaps narrower or connect them to form a ring, but as shown in the example/ diagram, the corners remain at 22.5, degrees, with the four flaps facing each other without being connected. This is beautifully done, and while maintaining consistency with the other parts organized on a 22.5-degree angle design, the thick spiral string is twisted with a strong curve to make it look thinner. ‘Amazing, amazing. | would like you to enjoy the entire process of this work, which is full of charm and is impossible to enumerate. {Conclusion} | selected three models from the book and presented their charms. I reflect once again. AS expected, Hojyo's models are the best. | am grateful for this opportunity to present the charm of this book and the models it contains, and above all, | am grateful to have been bom in this era where | can enjoy this book List of Figures: Figure 1 - “Contemporary Origami” home page (https:// hojyo.origami,jp/002maegaki.htm!) Figure 2 - Cover of "Takashi Hojyo Origami Works Collection” Figure 3 - Table of contents (page6) of “Takashi Hojyo Origami Works Collection” Figure 4 - Origami Tanteidan Magazine issue 86 cover Figure 5 - Origami Tanteidan Magazine issue 90 cover Figure 6 — Origami Tanteidan Magazine issue 107 cover (Page 26) Crease Pattern Challenge Challenge 148: Ushiwakamaru By Taiga Yamamoto Created: 2023/07/25 Paper Size: 50x50cm Height: 23cm When | saw the theme of this summer's "Creative Origami Popularity Contest,” | was a little hesitant to apply. The expression of human figures is a major theme in origami modeling, and Satoshi Kamiya's masterpieces exist in dragons that you can't help but be conscious of, whether they let go or collide. However, it's been a long time since a convention was held locally {as an in-person event], and | can't let go of my desire to take on a challenge. | thought there was still room to exploit the former theme if | was creative in choosing the subject matter, so | started creating portraits of people. First, | thought about the head without deciding on the target. At that point, | decided to focus on the anime-like expression of the nose, as seen in Hideo Komatsu's "Shoujo J #01." | found a structure to make the lower half of the face, including the nose, look like that by using an outside reverse folding process, but at this time, there was an extra area at the top of the head. ‘An option was to fold it into a hood and wear it as a ninja, but the subject matter seemed a little too plain for an entry. As a result, | chose to leave it almost as it is and wear it as an aristocratic headdress. It was around that moment that | decided to make Ushiwakamaru. Prototyping of the whole body went smoothly, and | was able to almost decide on the structure with just two pieces. It would be difficult to think about it later, so | first decided on the structure of the kimono and then decided on the surrounding parts, such as the arms and legs. Due to the matching of the clothes and the processing of the arms, some parts are asymmetrical, so it can be arranged into a pose with both arms outstretched or dual wielding, There wasn't enough paper on the hands to express the fingers, but | managed to hide them in the sleeves, which were long and loose enough. | probably ended up doing whatever | wanted with the headdress and sleeves, so | decided not to look at the reference materials for the finishing touches. | imagined the moment when he gently landed in front of Benkei at Gojo Ohashi Bridge, and | aimed to create 2 model that | imagined was full of coolness. | am very happy to have achieved first place in the number of votes. I'm sure there are quite a few former origami kids who learned the word "Kerenji" from Takashi Hojo’s website, but what do you think? (Page 37) Orisuzi (“Fold Creases”)A Contrastive Approach to the Finishing Touch of a New Model By Hitomi Kato When | think about creating origami models, | feel like | spend most of my time thinking about how to finish them. As was asked to write this article, | had a hard time deciding what to write, but this time | would like to share about what | think when deciding on the finish, Lately, when I'm thinking about finishing, the most important guideline is “try only one idea per prototype.” Let's consider an example. When you're in a situation where you've made a lot of progress in creating something and all you need to do is to adjust the details, if it's an animal, you'll probably find some parts, you don't like, such as the angle of the limbs or neck. In such a case, instead of making improvements to the prototype you currently have (hereinafter referred to as Prototype A), you pick up a new piece of paper and fold it into Prototype B, which has only one improvement made from Prototype A. Then, I'll put it away. In this way, by creating two prototypes with only one change and comparing them, itis possible to evaluate through comparative experiments whether the prototype is heading in the right direction. Additionally, by using this method, all ideas from past prototypes are kept in a log format, which prevents you from trying the same idea over and over again and has the advantage of allowing for efficient trial and error. When comparing prototypes, it's completely up to me to decide what's good or bad, but when | make a lot of prototypes, | often end up with a simpler shape with fewer folds. The reason for this is, of course, that ike simple-looking pieces, but | also think it has a lot to do with the fact that I value making folding as fun as possible. This means that the criteria for making the work as clear as possible, that it can be easily folded and that there is no stress in the production process, are ranked quite high in the selection criteria, and conversely, the degree of perfection in the form of the work is not as important. For me, origami is more about enjoying the process of making than it is about art piece. (Page 38) One Thousand and One Nights of Origami By Jun Maekawa Story 4 - Twists, Turns and Folds As have mentioned in past articles in this magazine, Ihave a collection of tanka and haiku poems that deal with origami and more broadly folding and geometry. | don't pay attention to a wide range of things, so even though there aren't that many denominators, | sometimes find such poems and phrases. Among the poems of poet Kazuko Otaki, there are many that touch the hearts of such biased tanka fans. All her collections of poems are out of print and extremely difficult to obtain, but | found them to be interesting. For example, the following song is about regular polyhedra. | fell asleep thinking about the types of regular polyhedra, 4, 6,8, 12, 20. By Kazuko Otaki. I remember this too, so | smiled. However, since | am more familiar with regular polyhedra than most people, I tend to imagine semi-regular polyhedra, of which there are 13, rather than regular polyhedra, of which there are only 5. And among the poems with the motif of “folding,” there was the below one. At the juncture where we met and bent eternity into two. By Kazuko Otaki When it comes to her own life, many people probably imagine a diagram in her head that resembles aline graph. The horizontal axis is time, and the vertical axis is something like luck or happiness (although it is difficult to quantify). When such a graph bends sharply upwards and downwards, that is when encounters occur. Eternity is a state of equilibrium, like a calm, where nothing happens, and it is the feeling of encounter that changes that. Furthermore, think of this as not a single polygonal line, but one that spreads out over a surface. A state of innocence with no folds, a state that may be eternal, is folded up by intricate folds. When you think of it this way, a person's life is like a kind of origami work, folded up by the folds of encounters. Life is created by the folds that form in an empty state of equilibrium. It is finite because it deviates from eternity, but it is therefore endearing. When | think about it that way, it somehow makes sense to me. (Page 39) Paper Folders on File #100 - Toshiko Kobayashi Report by Editorial team, Short bio Toshiko Kobayashi = Origami Therapy Association president, She invented and practiced Expressive Origami Therapy. She has given lectures, held workshops, and written many other books around the world, including ATA, APA, ISPS, and the Japan Traumatic Stress Society. She is also working hard to spread awareness of origami culture in America, participating in the annual Japan Day/Parade origami tent. Author: “Brain Therapy Origami" (Boutique Publishing); Co-author: “Developing Trauma Informed Services for Psychosis” (ROUTLEDGE) How did you connect origami and therapy? Origami had been around since my childhood and has been an activity that the whole family can enjoy. | think this was partly due to the post-war period when supplies were scarce. During my short-term studyabroad in the United States during high school, and when | was raising children overseas after getting married, the act of having fun folding paper was a great communication tool that deepened my bonds with those around me in a foreign land. After that, | met an elderly woman in Gaza, who | visited many times to provide medical support to Palestine. Although she didn't know the word “Origami,” she quickly folded her hat and boat out of old newspapers. | was considering using origami for art therapy, and she strongly convinced me of the universality and potential of the act of folding paper. Which origami artists or researchers have influenced you? First, Froebel is known as a pioneer in early childhood education. The influence of the spread of educational origami in Japan, which incorporates Froebel's educational ideas, is immeasurable. John Smith, one of the founders of the British Origami Society, gave me valuable advice: “You don't have to like origami if you want to use it as therapy.” He points out that loving origami and experiencing origami as therapy are not the same thing, This became a concept that is at the core of "expressive origami therapy." Of course, | have learned a lot from origami masters all over the world, including Japan. There are various theories about paper culture, but | believe that the culture that grew up using paper as a medium is immeasurable, and within that, the act of folding paper has a very large influence. Can origami be used as therapy? Ihave a master's degree from the New York University Department of Art Therapy. It is based on psychoanalysis and clinical experience and can be translated into Japanese as art psychotherapy. There is currently no statistical research data showing that origami can be used as psychotherapy, but when | give presentations at academic conferences, | use the “homunculus” invented by psychiatrist Dr. Penfield. | have explained the relationship between fingers and the brain. Although it is necessary to practice together with a therapist, origami's geometric elements and reproducibility, as well as its ability to be folded over and over, also make it suitable as a therapy. | have been practicing origami therapy through Clinical cases in trauma care such as the September 11 terrorist attacks in 2001 and the Great East Japan Earthquake on March 11, 2011, working with people with disabilities, and psychiatric wards. The current Expressive Origami Therapy was devised based on Western psychology and Asian philosophy that | have cultivated as a Japanese person. | established the Origami Therapy Association in 2003 as an organization to put this into practice. Currently, we provide origami to over 10,000 people a year. What is your connection to the Origami Tanteidan? When | was in Japan, | lived in Hakusan, Bunkyo Ward, where "Origami House" is located, so | often visited it. it was around that time that I learned about the Origami Tanteidan. | was impressed by the brilliance of the origami creators. When I returned from the British Origami Society convention, | had a pleasant conversation with Makoto Yamaguchi, who happened to be on the bus with me to Heathrow Airport, and | have fond memories of being inspired by origami. You are involved in activities using origami all over the world. What are your future goals? | have practiced origami in many places so far. We have customers in more than 20 countries, including the United States, South America, Japan, Asia, the Middle East such as Israel and Palestine, Africa, and Europe. Nowadays, | am sometimes referred to as the “origami evangelist’, which is very humbling, Since 2020, when the Covid pandemic hit, connections that transcend national borders have been created online. In Nigeria, where | gave a lecture online the other day, people call me "Mama Origami.” | believe that my mission and life's work is to continue to convey origami and its therapeutic potential.Additional special issue for magazine regular members It’s a sudden change, but starting from this issue, we will be publishing a separate issue for regular members of Tanteidan Magazine. Currently, the Japan Origami Academic Society has general subscription members and regular members. This special edition will not be distributed to general subscription members Distribution will be limited to regular members Currently, the number of regular members of the Japan Origami Academic Society had been reducing. Therefore, with the aim of gaining regular membership, we decided to publish a separate 20-page folded illustrated book as a desperate measure. This is separate from the handouts distributed at the end of the term, Year-end handouts will be distributed to regular members as usual. We are currently accepting changes to regular membership. Information on the procedure is available on the JOAS homepage. The works and diagrams introduced in the separate volume are provided free of charge with the cooperation of the creators. We hope that this supplement will be effective in attracting regular members, and we would like to continue using it as much as possible. The first models to be introduced are Riku !kuno's Ibis and Aoto ‘Morisawa's Humpback Whale. There is a certain cost for separate volumes. This matter is funded by donations. We hope that we can continue this project with your cooperation in the future. If you would like to make a donation, please send it to the account of the Japan Origami Academic Society. Japan-Korea Young Exchange Mee’ Tokyo ‘On October 7, 2023, four members of the young Korean origami group “ORIGAMI PRO” visited Japan, and an exchange meeting with eight young Japanese artists was held at JOAS Hall. Origami talks, dinner parties, and an impromptu origami creation showdown called “Origami Battle” (the theme was “cats") was held to deepen interaction. Japanese participants: Kango Kariyazono, Gen 10 Hagiwara, Taiga Yamamoto, Yuta Katsuzaki, Yudai Imai, Gen Doi, Yusuke Hirahara, Kaede Nakamura, Kyohei Katsuta, Satoshi Kamiya + Makoto Yamaguchi Comments from the participants Kariyazono: The creative contest was heated during the exchange meeting! The way everyone silently folded was serious (LOL) It was a fun day! "Kamsahamnida’’ Imai: An impromptu origami competition (!) was also held at the exchange meeting, and we had a fun and intense time. Katsuzaki: There are various hurdles in an international exchange, such as language and cultural differences, But | realized once again that origami has the power to overcome them. Yamamoto: It was a friendly meeting from beginning to end, and with Yoo Tae Yong as an interpreter, | was able to enjoy the event without any language barriers. Hirahara: It was my first international designer exchange. hope we can continue to interact with origami creators of the same generation. Nakamura: | had a very fun and meaningful time. It was interesting to see so many different styles in the competition. Hagiwara: | was inspired by young people from both Japan and South Korea. It's great to have fun folding in ‘a group. It was also impressive to see that the Japanese participants had completely changed from the previous networking events. List of Photos: Page 40 Left: on Top: Participants from South Korea, from left: Jang Yong Ik, Lee In Seop, Yoo Tae Yong, Kim Jin Woos; at the Bottom: Challenging a creative battle!!! (On the far right is Yoo Tae Yong, the interpreter. Page 40 Right: on Top: Competition theme=Cat; at the Bottom: Jang Yong Ik (back right), special guest at the Nagoya convention, and Satoshi Kamiya (front right), special guest of next year's Korean convention, @ Kansai Tomo-no-kai local area group meeting to be held for the first time in a while! By Koichi Tateishi During the Covid pandemic, we held several online regular meetings, but unlike in other regions, | remained the only person in charge of hosting and arranging meetings. On the other hand, | became increasingly busy with my day job. It was too much so | had to give up. After that, | was trying to find a way to resume regular meetings with Hidehisa Inayoshi, but the venue in Takatsuki that | used to use is no longer available. And venue fees are high no matter where we look, so about a year has passed. At that time, Makoto Yamaguchi introduced us to Kazuki Fukurol, and as luck would have it, Ken Yonami returned to Kansai from Kyushu. So, we