Next Meeting - Saturday 14th May 2005 at 2.00pm

The next meeting is on the second Saturday of the Month. The meeting will take place at the Festival Hall, Southbank (Near Hungerford Bridge). Meet at the entrance on the mezzanine level (near the bookshop). If you would like a copy of a plan of the meeting venue please click here

April meeting report

The "Musical Instruments" challenge displayed, once more, the modest talents with-in the group. The photos, below, testify to this. A teaching request soon arose, to commence the folding. Junior member, Micheal, had arrived with a very loose milk-tooth which soon required sake-keeping. A box was taught by Janet Nabney to enable Micheal to get the tooth home with-out loosing it.

Phil continued the folding with Kawasaki's Rose. Mastering the technique of twist-folding, plus coaxing the folds into a 3-D form, is always satisfying when the completed model is achieved.

The folding techniques, involved, lead Ricky Donachie to introduce the challenge of "One-handed folding" (in his tongue in cheek style). He demonstrated a flapping bird, which a few people were brave enough to attempt. Success was achieved, but accompanied by some very stressful expressions. This was from the folding and success with the flapping action.

Library books made available at the meeting, alongwith the previous week's Convention Pack, fulfilled other folding activty.

Pauline Trew has developed the availability of library books at mini-meetings. The "Library Catalogue" is, now, held at the meeting for members to select items they wish to borrow. Any requested loans will be made available at following meetings.

Folding challenge No. 13 - Monument or Building

Create a well known monument or building from around the world

If you would like to have a go at the challenge but can not make it to the meeting we would still like to see your model. You can post it to Steve Brown (address in the BOS mailing list). Only packages which can be posted through a standard UK letter box will be accepted. Do not send your only copy of a model. And It can not be returned without an S.A.E.

We have now complied a list of subjects for future challanges. If you have an idea for a challenge - e-mail us now!

Have a go, even if you do not normally create models — this may be the inspiration you need.
The following provide useful information on designing models.
Wayne's - Creating Origami
David Petty's - Creating Origami
Lionel Albertinos lessons from Design in Origami
David Brill on creativity from British Origami Society Magazine 101
Martin Wall on creativity from British Origami Society Magazine 102
Robert Lang on creativity from British Origami Society magazine 128
Interview with Eric Joisel from British origami Society magazine 189

Book - Creative Origami by Kunihiko Kasahara Chapter V (15 page guide to creating)

Book - Origami Design Secrets - by Robert Lang

The Annual Challenge - Gerry Anderson

The annual challenge is based upon a well supported monthly challenge and expanded with the idea of producing a display for a BOS convention. A theme will be chosen each year which was both well supported and has further potential for expansion. The first theme will be Gerry Anderson. London members are invited to add further models to the theme and all the models will be brought together under the heading of LondonOrigami on the convention display tables.

We have created a list of models already completed and subjects for further models. If you would like to contribute send us the name of the model you wish to make and we will add it to the list. This is to avoid more than one version of a model being made - and create as wider range as possible. See list

The latest addition - Jetmobile from Fireball XL5

 BOS Spring Convention 2005

While the movers and shakers of this world were attending the funeral of a much loved pope and the second wedding of a man who would be king. The folders and creasers who matter were gathering for the 2005 Spring Convention of The British Origami Society, held, this year, in The Florence Boot Hall at Nottingham University. – Florence as in Nightingale and Boot as in Wellington, Ms. Boot, as far as I am aware, has no connection with either the Crimean or Nepoleonic wars. She was, in fact, the wife of Jessie Boot, the founder of Boots the Chemist, which is, of course, a locally based Nottingham company.

I arrived at Nottingham Station in painfully bright sunshine which, by the time I had walked the 200 metres to the bus station had changed into a light snowfall! A short bus ride and I had arrived at the venue. I found my room and made my way to the main room where the display table had been set up. This year it was a little more organised than previous occasions where a polite anarchy has been the order of the day and I was assigned a space. I spent about 5 minutes putting my display together and another 15 or so moving them around until I was satisfied. Now I had an opportunity to see some of the other work that was being presented.

This year’s special guests, Paulo Mulatinho and Silke Schroder, had brought with them a selection of Tomoko Fuse’s work from the Bauhaus Institute where an exhibition has been taking place. Wonderful, wonderful stuff and not a box in sight. Having met Tomoko for the first time last convention and admired her work for some years it was a privilege to see some more.

I always like the first evening of a convention it is relaxed and laid back and one meets fellow folders old and new. The old friends always seem to be able to surprise with their latest creations (Robin Macey even produced Ashley!) and the new folders are always interesting and fun to meet.

Saturday dawned and I ate a hearty breakfast and entered the fray. Mick Guy, the puzzling president, opened proceedings and welcomed us all, especially the people from overseas, this year there were folk from Holland, Germany, Denmark, Russia, United States and Wales and introducing the special guests. After a brief bit of communial folding, which I seemed to miss for some reason, it was onto the teaching sessions. For anyone reading this who has not been to a convention these are very useful sessions well worth taking the time to go to. Often the creator themselves is there to show you exactly how his or her design can be recreated. The sessions are divided up into simple, intermediate and complex categories. I went to Tony O’Hare’s Jumping Kangaroo session which was fun and informative, although my kangaroo steadfastly refused to jump!

Paulo Mulatinho gave an illustrated talk about his work as a graphic designer and origami and he included a lot of slides from his visit to Japan. This was interesting but at times obviously frustrating for Paulo as English is not his native language; finally he took the only and probably the best course and let the images do the talking.

Then it was my turn to teach. I had chosen to teach the Comet, a simple but effective paper aeroplane and La Petite Souris, a not so simple but rather cute mouse. Teaching a model to a class of 20 -30 folders of wildly differing ages and skills is a learning experience for the teacher. One discovers very quickly that folding a familiar model, upside down and back to front, while explaining in understandable language exactly what you are up to, is not easy! But it is fun and extremely gratifying to see 20 -30 examples of one’s own work recreated in front of one.

And so the weekend progressed, by the afternoon, most people who were going to come had arrived and the display tables were full. And a fine display it was to. Congratulations to everybody who put their work on show. One particular one impressed me because of the bravery and honesty that went into it. An exhibitor had 2 small pieces which at first sight were not anything in particular. All was revealed when the accompanying card was read. “First attempts at David Derudas’ Cobra” One piece showed the head just about complete and the other the scales had been partially folded. I have whole forests worth of bits of paper like that and I never let them see the light of day, coward that I am!

In the evening about 20 of us took ourselves off to a local Indian restaurant for a curry. This, as always, was enjoyable in its friendly chaos. I sat opposite the Rosemarins, a couple from Minnesota, and Jane gave an impromptu teaching session on the 1 minute rose. The conversation ranged widely across various subjects, the weather, the quality, or lack of, the service, the need for more diagrams to be sent to Nick Robinson for the magazine, creationism versus evolution, molecular biology and the lack of real ale in the establishment.

Upon return to the Florence Boot Hall I repaired to the bar and ended up doing some impromptu teaching of my butterfly and little bat. My diagrams for the bat, I discovered, are not correct and I managed to lose the bat’s ears! As I said earlier, teaching is a learning experience.

On Sunday there was an exhibition review where various people spoke about their models and Paulo led us all in a short rendition of “Let It Be”, to be honest, I think something had been lost in translation, but it was fun.  I joined Jane Rosemarin’s teaching session on the 1-Minute Rose because I had not paid sufficient attention the night before and now, hopefully after sufficient practice, I will be able to produce Kawasaki roses quickly.

I did have an interesting discussion about the whys, wherefores and how-tos of diagramming with Dave Brill, Assia Vely, from Russia via Germany, Giles Towning and Mark Leonard. We discussed the merits of computers versus the hand, the addition of text etc., and realised that more needs to be done, like how to show a “soft” fold and that some things will not be possible to depict, namely the indefinable magic that one person puts into their work.

Further to this subject, anyone reading this should get in touch with Tung Ken Lam (tklorigami@yahoo.co.uk).  He is organising a survey about diagramming with the possible end result of developing software with the origamist in mind. A worthwhile project which needs all the support it can get. So, if you diagram stuff, or especially if you don’t, because you consider it too difficult, tedious or whatever; please get in touch with Tung Ken and complete his questionnaire. He will appreciate the input.

Finally 5 o’clock arrived and it was time to go home, my mind full of ideas for new models and subjects and how to present them in an attractive fashion. I can see that I will be busy over the next few months getting myself ready for the next convention in Lancaster 2^nd – 4^th September.

I hope to see you there.

Rikki Donachie

Creased Lines

Many of you may have seen Rikki Donachie's origami cartoons - however like me, some of you may not have seen them before. Anything good is worth repeating, therefore starting this issue we will be including one of Rikki's cartoons, and we hope that we can encourage him to do a series 2.

So we are turning to you - only those with the heart of origami can save the day. If you have an idea of a gag, for Ricky to draw, send it to us. And we will consider reviving the series.

Send in your ideas

Artwork © Rikki Donachie

The Fold

An occasional series discussing the fundamentals of our art and how we describe it.

Mountains and Valleys - When the same is different

These are the two basic folds in origami. They are the essence of all models and are acceptable folds in the sub category of limited origami design known as 'Pureland'. Effectively they are the same fold reversed. Although origami symbols are now standardised there are still some variations.

Arrows - There are two commonly used arrow head styles currently in use. For valley folds, the solid arrow head shown on the left of the illustration was favoured by Robert Harbin. Robert Langs Origami Design secrets uses the open arrow head, although in Roberts earlier books he too favoured the solid arrow head.

Mountain arrows also have two different styles commonly in use. The half white arrow head illustrated on the left of the adjacent illustration is most commonly in use today, although the complete white arrow is also in common use. Most computer software does not include the open arrow and half white arrow as standard, and therefore must be constructed.

Line Styles - The dashed valley line is now almost universally used today. The mountain style of two dots and a dash is the most common style used, although a single dot and dash is sometimes see, but not favoured universally as it can be confused with a valley fold, particularly if the diagrams are hand drawn.

Muzak for origami

Do you listen to music when you do origami? Are you soothed or, even, inspired to create in a mellow melodic whisper of rippling creases? LondonOrigami would like to exclusively uncover this hitherto unspoken folding phenomenon. Here we present a selection of specially chosen music. Would you like to tell us of your own favourites? E-mail us with your reviews.

Llewellyn - Moonlore

Two words sum up this album; Celtic and Mystic. It reconstructs Druidistic games which in ancient times took place under cover of darkness upon the full moon. The following quote is from the album cover;

"Its Late October and a night called hunters moon. The young woman looks across the beautiful lake that glistens before her in the pale rays of the moon.

She raises her palms to the moon, takes nine deep breaths filling her body with the moonlight and feels a magnetic surge throughout her whole being.

It is time.

She must complete her journeying task to the stones before dawn. There are no directions. Many dangers to encounter physical and metaphysical - and she must work with the spirits of the wind, sea, fire and stone to win her challenge".


The music perfectly captures this quest with well structured melodic tunes, mainly instrumental with a touch of Celtic influence, but not enough to make this a folk album. It clearly stays within the bounds of traditional melodic synth music with added acoustic instruments (Ullian pipes, Whistles, Guitars, Piano, flutes, skin drums and atmospheric effects).

Vocals appear in two tracks; Echoes of Ancient Stones, The ChillWind, where Llewellyn sings and Skyfire with vocals by Juliana. Both have good voices. One thing I have always liked in an album is sleeve notes and this comes with information explaining the background behind the moonlore legend.

Llewellyn is an artist who's compositions have immense maturity in conveying good melody, atmosphere and pure magic. The track 'Echoes of Ancient Stones' is a powerful piece which demands a repeat playing every time I listen to the album!

Paul Hanson

LondonOrigami CDRom Project

Times up - by now you should have all your material sent in for inclusion on the CD. At the May meeting we will review the material we have. If due to some unforseen circumstance you were noit able to make the deadline we may (with a little persuasion) be able to squeese your materials in, but we can't keep the doorway open indefinatly. If you need more time let us know.

You are reminded that we are aiming to produce a quality product showcasing the best in origami work from the London scene - miss this opportunity at your peril.

Origami Cranes required for the After Hiroshima exhibition

The After Hiroshima exhibition is planned for July 2005 at the Brunei Gallery at the School of African and Oriental studies, in London.  It will be an art exhibition commemorating 60 years since the dropping of the atomic bomb.   Part of the exhibition will include a display of origami cranes in memory of Sadako Sasaki and victims of Hiroshima.  To achieve this we require as many cranes as possible.  All contributions of cranes are welcome and all contributors will be acknowledged within the exhibition. The Cranes collected will be displayed and will be sent to Hiroshima after the exhibition tour.

A preferred format would be from 15 cm origami paper.

Please send your origami cranes along with your name and address to allow acknowledgement to;

Copad Arts
After Hiroshima
31, Hertford Avenue,
East Sheen,
London.
SW14 8EF
United Kingdom

The closing date for contributions is June 30 2005.  However for work to be acknowledged in the exhibition catalogue it should be received by the 31st March 2005.

For more details see  http://www.afterhiroshima.org/exhibition.htm

Sadako Sasaki's story

including how to fold a crane

London based Origami fan seeking to make contact with enthusiastic folder (is that the correct term) to partner in a venture which promises to be both fun and (potentially) lucrative. I will cover all costs so absolutely no money is required on your part, just a passion for your art and the time to teach me. I am based in London and as we'll need to work closely together (at least in the initial stages) it would be best if you live in or near London as well. We can work during the day or evenings and weekends, whichever is your preference. You provide the expertise and the patience, I provide the rest. Keen to start as soon as possible so please email pete.bennett@london-translations.co.uk for more information

• If you are a beginner it is useful to see how other people fold models.
• If you are having difficulty with a model perhaps someone else can help.
• We are fortunate in the London area to have a number of entheusiasts who design models; therefore a new model appears at most meetings together with diagrams.
• If you design models yourself the meetings are an opportunity to test diagrams and receive feedback on your design.
• Perhaps you would like to create your own models but don't know where to start - others will be able to give you some advice.
• Borrow books from The British Origami Society's library - a selection of books will be brought along to most meetings.
• Order a book to borrow from the Librarian and collect it at the meeting.
  
• Ultimately Mini meetings are an opportunity to meet other origami enthusiasts.
  
  We hope to see you there.
  
  If you have any questions please contact Steve Brown (Tel. No. is in the BOS Magazine), or send an e-mail.
  
  

Websites created by London members

In this section we are featuring the web sites of members in the London area. If you have a web site please send us the link.

Robin Glynn

Imperial College London Origami Society

The Fire Engineer - Adventures in fire safety (includes Lisa's origami page) by Paul Hanson

The opinions expressed in this newsletter are those of the individual writers and do not necessarily reflect those of the British Origami Society.

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