Origami U.S.A. - The Fold - Issue 26 (January-February, 2015) [PDF]

Zitiervorschau

January–February, 2015 Paper Review #24: Golden River by Ilan Garibi and Gadi Vishne Edited by Sara Adams paper

This is the third Japanese paper we reviewed. Just like the first two Japanese papers we reviewed (Karaperapisu and Biotope), Golden River (ｺ ｰ ﾃ ﾊ ｰ) is distributed by Takeo and packaged by Toyo. As before, we were not able to find official data on the paper. So we had to complete this review based on the laboratory tests and our own hands-on experience. I met this paper in Italy, and it was called Leather; not because how it felt, but mostly because of the look. There is a unique texture that does remind you of animal hide. I met it again in Takeo store, in Tokyo, and later in Nicolas Terry Origami – shop.

Properties 1. Thickness: The paper weighs 81gsm and has a thickness of 115 microns. For comparison, Tant has the same weight, but is 10% thicker. 2. Sizes: Not all sizes are available in all stores, but you can find full sheets at 109.1cm × 78.8cm, as well as pre-cut squares with a side length of 70cm, 35cm, 24cm, 23cm or 15cm. 3. Colors: Takeo produces 19 different colors. origami-shop.com sells 10 shades: brown, light brown, green, red, gray, blue, red wine, beige, white, and ocher. 4. Paper Coloring or Colorability: The paper curled just a little when applying acrylic paint. No color seeped to the other side. A 175mm sheet expanded by 1mm lengthwise. While the paper is suitable for coloring, it loses its unique texture in the process. 5. Texture: In my opinion this is one of the best features of this paper! It is leather-like; skin-like. One side is embossed with long, random grooves. It is a bit rough to the touch and has a matt finish. The reverse is flat and smooth. The paper is almost completely opaque and the color, while solid, isn't even: Golden River is produced in 19 colors you can see the grain direction. 6. Photogenic: The matt finish and the textured surface provide are a very good starting point. Use your light smartly and you can make great images. It is worth noting that the texture particularly of the lighter shades tends to disappear in shots. 7. Aging and Wear and Tear: This paper scores averagely, just like Biotope in our last review. Golden River scored 400 with the grain and 504 against the grain in the tearing machine. During folding, we did have some problems with the paper tearing. 7 out of 10. 8. Memory: The paper has an extremely good memory. Creases, when sharpened, tend to stay still and the paper jumps into place when changing from a preliminary fold to a waterbomb base, staying relatively flat. 9 out of 10. 9. Forgiveness: Reversing a fold is done effortlessly. 9.5 out of 10. 10. Tensile Strength: We refer here to the maximum stress the paper can undergo while being stretched or pulled. In our tests, Golden River was about 50% better than Biotope, which is surprising. It can hold 9.7 kg before snapping, stretching by 4.4 cm (20% less than Biotope). 8 out of 10. 11. Bending Resistance: This section rates the amount of force you need to apply to get a sharp crease and how strong the paper is while being curved. The results, 116 and 50, are double of Biotope. In comparison to the other papers we tested, Golden River scored average. 7.5 out of 10. 12. Price group: Moderate - fine folding - for showing in a monthly meeting. 13. Where to buy: origami-shop.com (24cm, 35cm, 70cm) origamishop.us (23cm, 35cm, 70cm) OrigamiUSA's TheSource (15cm) origami-papier.eu (15cm) amazon.co.jp (15cm) takeopaper.com (109.1cm × 78.8cm, delivery within Japan only)

Test results

Tessellation Pineapple tessellation by Ilan Garibi, 35×35cm While folding the grid, you can feel how sturdy the paper is. There's a major difference between folding with or against the grain: when breaking the fibers it feels much stiffer. Reversing the fold lines is done effortlessly in both directions, although it is much better when you go against the grain. The precreasing continues to be a joy on the diagonal folds, as they find their way to the corners without any problems. Both of the phases of the collapse go quickly and easily. The paper literally jumps into place. The final model looks interesting: the texture is visible and adds to the model's charm.

Complex The texture is fine enough to still be visible.

Lyrebird by Satoshi Kamiya, 35×35cm This is a box-pleating model and the paper is highly suitable for that. Creasing through two, four, or even more layers at once leaves good crease marks on all layers, which makes it easy to sink back and forth as required. The paper is very snappy, jumping into place. In step 55 you need to fold 30 layers at once. It's doable, but not comfortably. From here on, I was disappointed by the paper's performance. The paper is much too thick to add all the details. I couldn't shape the legs, the head, and in particular the tail. It is a corrugation, smartly used as feathers, but with that many layers, I could not crease it as shown. I had to open the model and make all precreases one by one, while the paper was flat. The final model looks clumsy, not even close to as delicate as it should be.

Modular/Unit Origami The paper is too thick for complex models.

Flowery Qube by Ilan Garibi; 6 units, 15×15cm Golden River is a great choice for simple folds. I made the six units without any problem. Puffing the petals showed this paper has a lot of tension and can be stretched without crumpling. The weakness on the veins of the leather texture are a minor weakness: if a crease runs just along it, it may be hard to place the crease correctly, rather than on the vein. Assembly is fun. The tabs are stiff, and the final model is highly stable.

3D models

The paper has a good thickness for modulars.

Rabbit by Hideo Komatsu, 17.5×17.5cm I colored the paper with grey FolkArt acrylic paint. This changes the paper's behavior a little. To be more specific, it resists shaping a bit more. While this paper is not thin, it is not too thick to pose real problems, even with the ears. While shaping, it is easy to give the body volume and to achieve a rabbit that stands stably.

Coloring the paper changed its proportions only slightly.

Sheep by Hideo Komatsu, 35×35cm This is the first model I folded with Golden River. Truly, this first fold tells almost the complete story of this paper. The creases are sharp, strong and crisp. Accumulating layers shows a shortcoming: the layers won't lay flat. Step 36 asks for reversing the left side, and in sharp corners the paper resists this manoeuvre. Quickly, this turns out to be the paper's main issue: it is too thick to allow easy shaping of the legs, or to sink some layers together. On the other hand, it is an advantage when you lock the sides of the sheep together: it holds strongly.

Golden River is great for models of lower complexity.

Turtle by Patricia Crawford, 20×20cm; Pegasus by Edward McGrath, 15×15cm

The paper is great for simple 3D models.

Many layers can be a problem, but not with this pegasus.

I first tried to fold a complex Centaur. I couldn't finish it, although I used a 35cm square. There was no way I could have shaped the fingers or the other small details. So I changed my models to more simple ones. With these intermediate models, I found the paper easy to fold and shape. You can fold many layers with it, as the paper is relatively thin, but you have to be careful not to tear it. For me, the paper tore once on a crease line. It seems the fold lines reduce the paper's durability.

Our young expert At the age of fourteen, Ynon Toledano is our special third opinion reviewer.

Rose by Naomiki Sato Ynon found the paper to be strong and durable. There was no need to add MC. Golden River is slightly too thick to be suitable for complex, but for this rose, without many overlapping layers, it was good. Folds are sharp, although a little difficult to reverse. Shaping the petals was easy and the result was satisfying.

Final verdict With 80gsm, this paper is in-between: too thin for tessellations, too thick for complex. But its great texture, the unique look you can get with it and the way it can be shaped to will, it is a wonderful choice for 3D animals and modulars. Especially models without multiple layer or tiny fingers will benefit most from it. In flickr, it is usually referred to as Leather, rather than Golden River. I found only 21 pictures, mostly of animals, plus some fractal stars. A great color and texture for this rose!

Why should you buy it? Golden River's texture is its main selling point, but not its only one. Its midway thickness is a good compromise that allows both shaping and accumulating a few layers without a real problem. Bottom line: beautiful texture! Paper

Thickness (gsm)

Golden River 81

Biotope

60

Karaperapisu42 O-Gami

~25, ~85

Clean Room 66 Paper

Size

Color palette

109.1cm × 78.8cm; 15cm, 19 23cm, 24cm, 35cm, 70cm 109.1cm × 78.8cm; 15cm, 18 24cm, 35cm, 70cm 93.9cm×63.6cm; 15cm, 30.5cm, 4 40cm, 60cm

Forgiveness

Tensile Strength

Bending Resistance

Price group

Unknown9

9.5

8

7.5

3

Years

9.5

6

6

3

8

4

4

4

9/7

9.5

9/7

5

9

6

7

3

Texture

Aging

Leather look

Solid, slightly rough

Memory

9

Iridescent Unknown9

55.9cm×71.1cm 32

Handmade

Many years

US letter, A3, A4 Limited

Smooth

Unknown9.5

9

8

9.5

7

3

9.5/9

Efalin

115

70cm×100cm

24

Fine Linen, New Linen, Many years Crash, Smooth

Lokta

~50

varies; e.g. 45cm×45cm, 50cm×65cm

Many

Handmade

Many years

6

7.5

9.5

6

4

Bible

35-50

B1, A4

white

Smooth

Many years

7

7.5

8.5

6

2

Sato Gami

80

Rough and Unknown9 Fibery

9

7

8

4

Glassine

40

Smooth

6

8

4

3

Unryu

27

8

10

5

4

Skytone

90, 176

9

7

8.5

3

Kami

60

8

7

8

1

Ingres

90

8

7.5

8.5

2

8

9

8

4

5

8.5

5

2

5

8

4

1

Nicolas Terry 50 Tissue Foil Onion Skin

35

Kraft

35

15cm, 35cm, full 6 sheets 10cm, 15cm, 20cm, A4, 11 70×100cm 40cm, 60cm

10

Unknown9.5

HandMany 7.5 made years Smooth, Unknown8 marble-like Smooth, a Many 8 bit shiny years

A4, 12 63.5cm×96.5cm 7.5cm, 15cm, 200+ 30cm 5 B1, B2, A4 (previouslyRough Years 8 21) 15cm, 20cm, Glittery; 30cm, 40cm, 8 hues handmade Unknown8 60cm look Many A4; Letter; 8 White Cockled years 84.5×64.4cm Smooth 15cm; 30cm; and a little Light Unknown9 48cm; 35cm; shiny on brown 40×60cm one side Less than a year

8

6

4

4

2

Smooth and sparkly

Years

9

9

7

9.5

3

Varies

Many years

5 to 9

6 to 8

10

2

5

28 hues, Bumps 64cm by 64cm plus 12 pearled

Crumpled

48-51

Stardream

110-340 (120 72cm by 102cm 33 hues tested)

Origamido

10-100

40cm by 50cm Very and more broad

50-120 (80 Printer Paper tested) Japanese Foil

50

Tant

78

Elephant Hide Paper

110

A0-A7, B and C Mainly white, but smooth equivalents, and dull many ANSI. Many colors others various from smooth 3cm up to 50cm 12 colors and shiny squares 7.5cm; 15cm; Mildly 30.5cm; 35cm; 100 colors rough 110×80cm A4; 7 colors smooth 70cm×100cm Classic Action Tessellation

Few years

7

9

4

4

1

Many years

10

4

5

6

1

Many years

9

8

6

5

2

7

10

10

3

Many 10 years Complex

Modular

3D

Wet Folding

Final score

Golden River Biotope Karaperapisu O-Gami Clean Room Paper Efalin Lokta Bible Sato Gami Glassine Unryu Skytone Kami Ingres Nicolas Terry Tissue Foil

8 n/a n/a n/a 8 7 n/a 8.5 8 8 n/a 8 8.5 7

n/a n/a n/a n/a 10 9.5 n/a 7.5 9 8.5 n/a 8.5 8 8.5

8.5 8.5 8.5 9 9 9 7 8 9 9 n/a 9 8 8

6 9 9 8.5 6 5 8 8.5 6 7 9 9 7 7

8.5 9 n/a n/a 6 6 n/a 6 9 9.5 n/a 9 9 7

9 9 9 9 10 9.5 8 8 8 7 9 9 7.5 8

n/a n/a n/a 8.5 n/a 9 n/a n/a n/a n/a n/a 8.5 7.5 8

8 9 9 98 8 8 8 8.5 8 9 9 8 7.5

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 Crumpled Stardream Origamido Printer Paper Japanese Foil Tant Elephant Hide

8 8 8.5 8 7.5 9 9 8.5

7 7.5 8.5 7.5 7.5 9 8.5 9

8 8.5 9 7.5 6 6 9 10

9 8.5 7.5 9.5 5 8 8 8

6 7 7.5 n/a 6 8.5 9 8.5

8 8 9 9 6.5 8 8 9.5

n/a n/a 9 n/a n/a n/a 7.5 9.5

7.5 8 9 9 6 7 8 9.5

TIM the Beaver v2 Model & Diagrams by Michelle Fung Designed: 5/2014 Diagrammed: 10/2014 www.michellefung.net

1

2

Valley fold in half and unfold both ways.

6

3

Valley fold diagonally, then unfold.

5

Mountain fold, then unfold.

7

Mountain fold, then unfold.

theFOLD

Valley and mountain fold, then unfold.

4

Mountain fold, then unfold.

8

Valley and mountain fold, then unfold.

Valley fold, then unfold. The new folds will bisect existing angles.

9

Valley fold, then unfold.

© Copyright 2014 by Michelle Fung 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/

22

23

Valley and mountain fold, then unfold.

21

24

Mountain fold, then unfold.

20

Valley fold, then unfold.

16

19

Valley fold, then unfold.

17

Mountain fold, then unfold.

15

Valley fold, then unfold.

Valley fold, then unfold.

theFOLD

Mountain fold, then unfold.

13

Mountain fold, then unfold.

11

Mountain fold, then unfold.

Valley and mountain fold, then unfold.

18

14

10

Mountain fold, then unfold.

Mountain fold, then unfold.

12

Mountain fold, then unfold.

Mountain fold, then unfold.

© Copyright 2014 by Michelle Fung 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/

25

26

Precreasing done! Time to start collapsing the model.

Valley fold, then unfold. You will bisect existing angles.

27 28

Partially collapsed corner.

Valley and mountain fold. You will start to collapse the model.

27 - 28

29

Partially collapsed corner. Repeat steps 27 to 28 for the other corner.

theFOLD

30

Partially collapsed models. The model will not lie flat at this point.

© Copyright 2014 by Michelle Fung 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/

38

36 - 38

44

40

39

Rabbit ear.

Reverse fold.

Mountain fold to narrow eyes.

Repeat steps 36 to 38 on the other side.

37

41 43 42

Reorder the layers.

Mountain fold to shorten eyes.

36

Valley fold, then unfold.

35 Round eyes.

34

Squash fold.

31

33

4 Point 4 from step 31 is labeled here. The collapsed model. Turn over.

4

Continue collapsing. Points 1 and 3 from step 32 move up, and points 2 and 5 move down.

32

4 5

3 3

2

3

Valley and mountain fold. The numbered points should collapse onto each other. From this perspective, point 4 moves downward.

5

theFOLD

5

2

1

1

5

5

Partially collapsed. Point 4 is not visible from this perspective.

5

© Copyright 2014 by Michelle Fung 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/

46

45

48 47

Squash fold.

49 Valley fold.

Pull out hidden layer.

Pull out hidden layer.

51

52

50

Round pupils.

53

Focus on the head portion of the model.

Pleat. Petal fold.

55

Pinch halfway point.

56 Valley fold.

54

Open up flap and mountain fold (relative to white side) crease along single layer. Valley fold halfway to pinch in step 53, then unfold.

57 58

59

60

Pleat. Mountain fold to narrow neck. Reverse fold to round ears.

Round chin and shape teeth. Valley and mountain fold. Small squash folds for the nose.

61

63

62 Mountain fold large flap. Swivel fold to expand cheeks.

theFOLD

Turn over.

© Copyright 2014 by Michelle Fung 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/

71

Turn over.

70

Form hands and feet. Narrrow legs, round body and head.

72

69 Done!

Reverse fold arms, then open.

67

68

Pleat tail. Round tail.

66 64

Open sink, unsink smaller portion.

theFOLD

65

Reverse fold corners of top layer.

Tuck all white layers except the top layer into pockets. Swivel inner layers to make tail bigger.

© Copyright 2014 by Michelle Fung 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/

January–February, 2015 Reflections of an OrigamiUSA Board Member by Patty Grodner Edited by Jason Ku biography

Last year, I was asked if I would be interested in running for a seat on the OrigamiUSA Board of Directors. I had never envisioned becoming a member of any board, much less the board of OrigamiUSA. My thoughts were, “Me? What do I have to offer? I’m not a creator, author, or origami dignitary. What could I bring to the table?” Nonetheless, the idea was intriguing. As an empty nester that recently retired from teaching, I found myself with the time as well as the desire to give back to an organization that has given a tremendous amount to me over the years. I helped organize PCOC 2013 in Albuquerque and really enjoyed the experience. I just wasn’t sure that being on the Board of Directors was the best path for me to give back to the organization. I had also heard rumors that being on the board could be a frustrating, negative experience. Hmmmm... not a particularly glowing review, but the one thing I did bring to the table was positive energy; I like to work. Could I make a difference? To make a long story short, in 2014 I decided to run for the board, got elected, and surprisingly I’m having a great experience! I admit that being a new member of the board has been frustrating at times, but I found that there were many ways I could offer important help. For example, as a remote board member I found it discouraging to participate in board meetings online while the majority of the discussions seemed to be taking place between the local board members physically present in the OrigamiUSA home office in NY. No one intended to make remote members feel excluded, but the way we were running meetings made it easier for local members to be heard. Hesitantly, I expressed my concerns with the rest of the board, and to my surprise, the board adapted quickly to address my concerns. We now hold board meetings exclusively online so that remote members do not feel at a disadvantage. I was amazed at the difference it made in my ability to participate in the conversation, and I felt that my voice was being heard. I have seen real, positive changes in the short time I have been on the board, in many areas of the organization. Am I the reason? Absolutely not! Change comes from the collective group working together to move forward. That is what a board of directors is about. During the past year I’ve learned a lot about teamwork and listening to different points of view. When members of a board listen to each other, then the organization can grow and thrive under their leadership, and I do feel the current OrigamiUSA board is this kind of board.

The 2014-2015 OrigamiUSA Board of Directors. From top left to bottom right: Jason Ku, Marc Kirschenbaum, Marcio Noguchi, David Kandel, Jean Baden-Gillette, Lisa Bellan-Boyer, Char Morrow, Wendy Zeichner, and Patty Grodner. Recently, I attended a retreat for the OrigamiUSA Board of Directors in NYC to plan for the future of the organization. I was shocked to find that even when we had down time between discussions, we all still wanted to focus and continue to work. It may sound sappy, but it is really true that each member of our board is committed to forming a good and effective plan for OrigamiUSA, an organization that is really important to all of us.

And this is the reason I wanted to write this article for The Fold. YOU! We need YOU! As you may know, OrigamiUSA is an organization run by volunteers. Each board member is a volunteer who wants to help OrigamiUSA support origami around the world. Like me, many of you have important strengths and skills that can be brought to the table but may have had a bad experience or heard bad stories about OrigamiUSA in the past. I’m here to tell you that things can change. Things have changed, and you can help bring about more positive changes, the changes you want to see in the organization. We need committed, energetic volunteers and board members. Is it your time to give back and pay it forward? Think it over. We all love origami! It’s our cause! If you want more out of OrigamiUSA, we need your help. We need YOU! -Patty Grodner The call for nominations for the OrigamiUSA Board of Directors will open in February. When it is announced, please review the Election Details page to submit a board member nomination, or visit the Elections page for more general election details.

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© Copyright 2014 by Joel Stern 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/

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© Copyright 2014 by Joel Stern 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/

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© Copyright 2014 by Joel Stern 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/

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© Copyright 2014 by Joel Stern 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/

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