need not be simple: At folding conventions, we often see several youngsters comparing their versions of Satoshi Kamiya’s “Ancient Dragon.”
Legendary zeal happened to one of our students when he was younger. John Scarborough was an inventive creator who had learned to fold several origami animals while attending classes at our Origamido Studio. One day, he appeared with his mom and dad to reveal his own delightful origami composite design that he called the “Moxaroo.” He described it as having the head of a fox, the body of a mouse, and the tail of a kangaroo. With each subsequent meeting, there would be an added model, a tidbit of lore, often accompanying a newly folded version of the Moxaroo, or perhaps its prey. Finally, he presented us with a three-ring binder of the story, complete with life cycle factoids about his mythical creatures. This was a wonderful chapter in his creative origami life that we all still recall with a broad smile.
John Scarborough proudly shows his original “Moxaroo,” and the book of its lore.
Greg Mudarri’s legendary “Crane Riders” in a display diorama.
Our dear friend, coauthor and graphic designer, Greg Mudarri, recalled that as a child he was captivated by a U.S. News & World Report illustration from 1987 depicting a businessman riding an origami Japanese Crane folded from a tax form. He designed an origami human figure to nicely fit atop an origami crane. He exhibited a series of “Crane Riders” at our Studio, depicting them gathered around a campfire, capturing and taming the huge, fanciful creatures. Eventually, he designed an origami model to produce both crane and rider from a single, uncut square. In 2013, Greg contacted Ben Luce, the graphic artist who had designed the original illustration, in Los Angeles. A mere 26 years later, Greg met Ben and finally had the chance to thank the man whose artistic efforts inspired him to embark on so many hours of joyful paper folding. Imagine how you too can develop your own lore and legends around your favorite origami creations.
Gifts from Our Mentors
What would we be without the origami designers who have gone before us? Just as Michael was transformed by seeing the color photos of remarkable origami in the 1970 Readers Digest article about Master Yoshizawa and others, the person discovering origami art today is about to embark upon a journey of discovery enhanced by exposure to the works of previous designers, artists, diagrammers, and hand papermakers. While many folders draw inspiration from works by others, one’s own work is enough to propel some artists into a frenzy of innovative folding. The topic of one-upsmanship was beautifully illustrated in Vanessa Gould’s Peabody-Award-winning origami documentary, Between the Folds, in the chapter titled, “The Bug Wars.” While she addressed one aspect of technical folding, the same arguments work for spurring one another on artistically as well.
We owe a great debt of gratitude to Mr. & Mrs. Akira Yoshizawa, Samuel & Jean Randlett, Neal Elias, Patricia Crawford, Robert Harbin, Florence Temko, Eric Joisel, Vincente Palacios and many other origami designers and authors who, through their inspiring publications, paved the way for us and new generations of origami designers. We have immense gratitude, love and affection for Elaine and Sidney Koretsky, founders of Carriage House Paper in Brookline, Massachusetts, who helped us and our students explore the world of hand paper making, from gaining experience with the paper-making plants that they cultivated in their yard, to fiber processing techniques and archival coloring with pigment systems. Their accomplished artist daughter, Donna, now continues their important legacy through Carriage House Paper in Brooklyn, New York.
Our effectiveness as teachers is a credit to the work of Lillian Oppenheimer, and her eclectic collection of designers, presenters and volunteers at origami conventions. As an example, Kyoko and Shigeo Kondo have not only been long-time supporters of OrigamiUSA, they also personally mentor younger folding artists, and have done so ever since we can remember. We have lovingly bestowed upon Kyoko the affectionate moniker “Chairman of the Board” because she constantly urges us to explore new projects, publications and ways to make our living by doing what we love to do. The best way we can thank these selfless mentors is to help grow a new crop of passionate, innovative and talented artists and teachers to willingly share their enthusiasm for artful paper folding with others, well into the future.
Folding Socially
MEET AND FOLD FOR FUN!
If you enjoy playing cards or dancing, you might also like the interplay of folding origami with others. We usually fold with others gathered around a large table when we are preparing special displays or commercial art installations. If there is latitude in the design, such as when composing origami blossoms, stems and leaves, it is fun to gather opinions about what sizes, colors or positions look best. Often somebody will discover a shortcut or tip to make the folding more precise or efficient. We learn about new tools, papers and materials whenever we gather with folding friends. When we take a break from the task at hand, we show each other new origami designs that we have developed, modified or learned.
If you think you might enjoy the company of other origami enthusiasts, visit the website of OrigamiUSA at origamiusa.org to find listings of folding groups in your area.
Continent or Island?
It used to be common for origami artists to work in isolation. There were few publications and organizations to support a serious paper folder. It can also be more fun to solve a problem on your own, particularly when it takes intense thought over long periods of time. Designing with little outside influence certainly can produce fresh results. Folders working in isolation have become famous when examples of their innovative work suddenly burst upon the scene. Shocking new techniques advanced by isolated artist certainly make a refreshing splash in the art world.
Today’s ubiquitous Internet has made artistic isolation more difficult. New ideas and techniques may instantly pollinate the minds of thousands of contemporary artists. Those who are receptive absorb these lessons and then apply their own spin, often resulting in clever variations.
This change has its pros and cons. At certain points in your career you may prefer isolation, perhaps during the birth of a breakthrough, or when you simply need to find your own voice. The connected crowd produces fairly steady and incremental advancement, and you may draw strength from the inspiration of others’ work. Luckily, the choice is yours.
Folders of all ages enjoy making origami at this Peabody Essex Museum workshop.
Folding for the World
In any new art, the “pioneers” invariably set the tone for those who follow. Because this “folding as art” is so new, many of the greatest origami designers of all time are alive today, and their signature works may be important from a historical perspective. Realizing the magnitude of this impact, one designer friend shares only one new design with the folding world each year, and the anticipation within the community of fans is palpable. Other designers seem to want to publish anything they can think of, and then they let the origami community play the part of the critical filter, as they weigh in with praise or critique. As society changes, our collective tastes in art also change, and it is instructive to look back. Good design is timeless, and while an origami creation is no less a product of the time in which it was developed, the artifacts of our civilization are snapshots that teach us about the human mind and the condition of society in that place, and at that instant.
Just Right
“I don’t know anything about
