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The Origami Tanteidan Digest Origami Tanteidan Digest which will provide a summarized version, in English, of the Origami Tanteidan Magazine. The numbers indicated as (Page xx) refers to the page number of the original article in the Magazine. While not all content will be translated, it should give you a good idea on what the topic is about.

(Page 7)Northern Alps lnternational Art FestÍval 2ot z Japan Alps lnternational Art Festival2017 Shinano-Omachi Food and Art Corridor large event will take place between June 4th, 2017 until July 30th. Mr. Kitagawa Fram is the general director, famous for handling the Echigo-Tsumari Triennale and the Seto lnland lnternational Art Festival. I was contacted in December 2016 as my name was added to the list of invited artists. I was

puzzled because the application was closed for some time, the list of the artists was already announced, and the initial workshops of the events were about to begin. lt is an event with

pros and cons among the local friends considering the large investment of funds.

However, political matters apart, these kinds of opportunities are rare and a great chance to showcase origami as a contemporary art form. And it will be hosted locally. So, I accepted the

Origami Tanteidan Digest úolum e27-tssue tdt

January2017

Table of contents (Page7)Origami and lts Neighbors (Page 13) Close-up (Page 1 6) From the Bookshelves of the JOAS Library (Page 18) Here We Are, THE ORRRIGAMI TANTEIDAN (Page 36)Orisuzi ( "Fold Creases" ) (Page 37)Origami-Zanmai 0-his Origami and That) (Page 39) Paper Folders on File (Page 40) Rabbit Ear lnformation

fate that 50 years since our fathers had met, their sons would be doing some work together. lf this first arts festival becomes successful, there is a desire to make it a Triennale. 2016 was a busy year for me. ln 2017,|was planning to take time to create, but the participation to the arts festival happened quite suddenly. lt feels like it will be a slow and long run. Every day, I go for walk "with origami" . On one of the routes, lfound a cluster of two droppings at the same place a bear left its

droppings on early spring. The bear droppings consisted of cherry seeds, but this time it included persimmon and ginkgo seeds. The ginkgo had its shell. When Taro (my husband) did some research,

he found out that raccoons, badgers, and civets are the critters who eat ginkgo seeds, and not bears and boars.

ln lndonesia, undigested coffee beans that musk cats had eaten are rare and expensive specialties.

research. Fram also mentioned that it did feel like

So, we laughed at the idea of a "Yanpoko" (dropping)Gingko Seeds that we could somehow sell. So, since the seed is dropped complete with a shell, I wonder if the animals are eating the outer flesh but do not feel the smell. I wonder if it smells delicious. I wonder if there is no food at all for them to eat. As the cold continues, the frozen droppings make us think and have fun every time we take a walk.

invitation. However, because of the short time for preparation, I will be forced to make use of models at hand, and try to finish them as best as I

can.

There is another reason why lwanted to participate. My father was close friend of Mr. Kitagawa Fram' s father, through Ryókan (Page 1 3)lntroduction to OrigamiPuzzles

solve anything quickly if you use a computer, it is

By Ryuhei Uehara

a big mistake. Finding out a good calculation method is not unusual to improve the computing

lnformation Science, Hokuriku University, Japan Advanced lnstitute of Science and Technology. Recently, the opportun¡ties to travel to give lectures on "Calculated origami" and business lectures on "puzzles" have increased. ln the past one year, I lectured all levels from graduate students to elementary school students.

speed to become several tens of times faster, sometimes tens of thousands of times faster. myself recently came up with an idea, just by rewriting a few lines of my own program, resulting in the calculation time of the program to shrink from 10 hours to just 1 second. lt is quite impressive that that is a routine and common matter. Such an algorithmic approach can be utilized in many situations, but the one I am most excited about recently is with "origami" and "puzzle". Perhaps I thought "lt's a story about hobbies?", But it is not so.l am doing "origami" and "puzzle" as research subjects of algorithms. At first glance,

Ryuhei Uehara: Professor at School of

1.!ntroduction I usually study theoretical computer science, more specifically, algorithms at Japan Advanced lnstitute of Science and Technology (commonly known as JAIST). So, what is an algorithm? To put it short, it is a research to find a "good way to solve" the problem. lf you think that you can

I

origami and puzzles may seem irrelevant. But for me, both are materialized algorithms. An example is shown in Figure 1. This is the puzzle shown in Figure 75 in Ref. Il]. The rule of this origami puzzle is simple. Just Fold so that the surfaces overlap in the order of the numbers, to result in a 1 X 1 square. However, you are not allowed not add extra crease lines besides the ones already drawn in the figure. lt seems easy at first sight.tasy for people rího are usually developing folded folded sheets ...? ls it really so? Let's try it. I can imaqine that it is more diffiéult than firsi thought. lf yóu doubt rhat "Can you really -solve it?", The heart will likely be "folded" before paper. But a solution exists. Does it feel like: "Because ¡t is not a square and I do not know the orientation of the fold lines ...?" So how

about Figure

2?

This is the puzzle published in Figure 14.1 of Ref.

[2]. Fold along thé mountain cráase lines (thick dash-dot line) and the valley crease lines (thin dotted line). Fold the surfáce in order of the

numbers, and collapse into a 1 X 1 square.This is also a difñculty problem that will usuálly make an elementary school students cry when they try.

Of course not all puzzles are just difñcuit. Íhere are also a 1ot of origami puzzles that everyone can have fun. Checking Erik D. Demaine's'web pa ge (http://e ri kd e ma i n e.or g I puzzlesl), yo u ca n find plenty of origami puzzlés describe«j. Those ones are not so difficult, so you can enjoy them. Of course, like regular origami, various var¡ations

and folding méthods áre possible. Let me introduce some of my favorites one here. 2.2 Allow oblique' s: Checker board K16, my puzzle friend hosts the following website

on puzzl es: http://pu zzlewill beplayed.co m/. Among them, the Origami Checkerboard Puzzle in the Origami category is quite attractive. The original puzzle is based on the idea of creating a checkerboard pattern by folding a paper wi-th different front and back colors. On the site, by considering a generic problem, you can see aÍl the possible 3x3 checkerboard patterns, based on the black and white cell combinations. This page list the world records of the minimum sieps

needed to create the different patterns: httpl / p uzzlew b e p a ye d.co m /O r g a m i/O r g a m i Checkerboard. Fig 3 póvides a screÉnshot oíthis problem. The conditions of that puzzle are iII

I

i

the corners is different on a 3 x 3 grid. This can be_created by folding twice a 5 x 5 aize paper. 50 different patterns are presented, and their current world record. I write "current" , because the records are constantly being updated on this page. Of course, there are patterns that looks like will not be improving any further. For example, the two fold record for pattern # 01 can 't be beaten. But there are some other patterns that require some seven steps, so I think there are room for improvement. lt may be that you, who are reading this article, the one going to submit an update to the page with the next world record.

3.Advertisement of our university: the JAIST puzzle At JAIST, there is a facility called JAIST Gallery (http://www ja ist.acjp/a reas/ga I lery/). Due to á varied sequence of events (described in Tanteidan Magazine 131) we have collection called the NOB collection, which is known to be one of the world's three largest collections of puzzles. lf contains roughly 1-0,000 puzzles and just part of it is available on display. The exhibition gallery makes use of the puzzle theme as a motif, based on a quite fantastic design. And, due to various circumstances, I am currently acting as gallery chief. So, from time to time I dó take advantage of my authority to outsource the creation and distribution of the JAIST puzzle. Figure 4 shows one of existing four types of "JAIST Gallery origami puzzle". The objective of this puzzle is to get the word JAIST with just two steps. lf you look closely the letters -.. Oops. Anyway, there is a solution by simply by folding straight twice. I distribute this puzzle at various events that I participate. But it is usually the elementary school students the first one to solve it. Kids are so ingenious! ... Anyway, there are three other typés of JAIST Origami puzzles, so please stop Uf flokuriku univeríity if you would like to give it a try :-) Now, I did not come up with the design this attractive puzzle, as I outsourced it to a company called ASOBIDEA (http://asobidea.cojp/). lt is a company started by puzzle designers that creates custom puzzles by order. The JAIST puzzle also becomes a bookmark, an advertisement, a puzzle, packed with a feeling of "good value"

i

simple: that the finished pattern results in a 3 x 3 grid; and the original paper is square. ln other words, it does not matter if the size of the original

paper is a 4 x 4 or 7 x 7 grid,and the also diagonal folds are perfecfly acceptable, in addition to parallel/perpendiiular ories. ln fact, more complicated patterns can' t be folded, if diagonal folds are not actively used. For example, in pattern # 01, the color of one of

4.Everything is available: from the easiest to the hardest lf you can accept starting from shapes that are not squares or rectangles, then there are a lot of origami puzzles options available. For example, there is a puzzle that I named "Flying Fish Puzzle".

I am available

on the site

http://tobiuokai.jugem.jpl?eid=64. I am not

post¡ng any images because I do not know the aut¡or, but he describes this puzzle as "highest difficulty". And contrary to its appearancé, it is

índeed difñcult. I highly recommend ¡t to those who like difñcult puzzles:-) Also, there is Martin Gardner, the author of the book [1] which was described in Figure 1.

Gardner is a celebrity in recreational

mathematlcs, so there are no one in the field who have not heard of his name. ln recent years, a complete collection authored him is in progress. The collection is planned to be 15 volumes in total, out of it, four had already been published in the English. Volume 3 is already translated to

Japanese and volume 4 is planned to be published in 2017 (l promise!). Ref. [1] refers to Volume 2 of this collection. Anyway, it is packed with many interesting topics that you can enjoy: puzzles using origami (volume 2 chapter 16), Hexaflexagon (volume 1 chapter 1), Tetraflexagon (volume 2 chapter 2), single cut shapes (volume 3 chapter 5) and crease patterns

(volume 2 chapter 1). lt is probably not

appropriate for me to say, as the translator of that book, but I think it is really a very interesting book. Also, in this context, my may enjoy again

the ways it is possible to fold a checkboard pattern, based on an article posted in Origami

Tanteidan Magazine issue 1 31 . Speaking of the crease patterns (CP), there is

a

version that was literally "discovered" in my laboratory in2014.lt is presented in Figure 5. This is an exploded view consisting of 30 squares, but if you cut it and fold it correct, you can fold into a

box. Moreover, this "miraculous" CP allows a box of proportions 1 X 1 x7, 1x3 x3, and,/=5x^fS x ,/ 5 to be folded just by simply changing the foldlng sequence. There are 9 CPs that known to collapse into 3 different boxes. But the CP shown in Fig. 5 is the only one that allows two wqys of foldi-ng a box of ¡iroportion ,/=5 x ,/-5 x /-S. tn other words, it is a CP that allows three types of boxes to be collapsed in four ways. This was a discovery was possible based on an innovative idea (using "/ 5 of the side!), a clever algorithm and JAIST's supercomputer. Details on the discovery are listed in reference [3]. Anyway, think that you can enjoy it considerably just as an origami puzzle if you can challenge yourself to fold a box from the CP. Two cubes are unexpectedly simple, but the remaining two are I

(Page 16) From the Bookshelves of the JOAS Library "OrigamiAnimals and Creatures" by Kasahara Kunihiko ByTomoakiOno I have vivid memories about 3 origami books that lgot when lwas a child. The first one was "Kamitoorikami" by Kunihiko Kasahara, an educational illustrated encyclopedia by Shougakukan. "Origami Seibutsu Sketch" by the same author. And finally, "Paper Magic Rittai Origami" by Keisuke lwakura. "Origami Seibutsu Sketch" was published in 1984

rather diffi cu lt puzzles.

5.Conclusion lf you are enjoying these origami puzzles, you can wonder why these problems are difficult. I would like to find a generic method to figure out how to solve it and what cases ¡t can be solved. This question leads to a bigger theme of "Origami and

non-deterministic polynomial-time hard algorithm NP hard problems". We will leave the details to reference [2]. lnitially, one of the reasons I started studying "computat¡on origami" was because Ithought of a research with a high ingredient of origami and puzzle, based on the statement: "pop-out picture book ís NP hard". So, searching for an internat¡onal conference to publish my results, found out 4OSME [4]. At that time when participated at 4OSME, I only knew Erik D. Demaine. But I was fortunate to get acquainted with many Japanese origami representatives I

I

including Maekawa and Kawasaki. When playing with origami puzzles,l feel some sort of cultivation of a comfortable "sensation"

and "intuition". lthink that feeling should

become handy when folding or designing regular orioamiworks. References:

[1] "Gardner's Mathemat¡cal Recreation

(Complete Edition Martin Gardner Math Game Complete Works 2)" by Martin Gardner, Hirokazu lwasawa, Ryuhei Uehara Japan Hyoronsha, 2015.

[2] "Geometric Folding Algorithm" Eric D.

Domain, translated by Ryuhei Uehara by Joseph Orchester Kindaikaga kusha, 2009.

[ 3 ] Dawei Xu, Takashi Horiyama, Toshihiro Shirakawa and Ryuhei Uehara. Common Developments of Three lncongruent Boxes of Area 30, The 12th Annual Conference on Theory

and Applications of Models of Computation, Lecture Notes in Computer Science Vo1.9076, pp. 236-247,2015/05/18-2015/05120, S i n g a p o r e . (down oada bl e from https://d spaceja ist.acj p/ I

dspace/handle/1 01

19 /

1

37 57)

[4] Ryuhei Uehara and Sachío Teramoto,

Computational Complexity of a Pop-up book, ORIGAMI^4, pp.295- 304, A K Peters, Ltd, 2009.

in issue '151 of educational illustrated

encyclopedia series. lt is also mention¡ng that Kasahara also published "Origami Nyumo" in issue 1 17 and "Origami Zukei Panorama" in issue 139, available on JOAS library. "Origami Seibutsu Sketch" illustrates sketches created with origami, folded from a square sheet of paper, demonstratlng the Kasahara style design.

Chapter

1: Birds

Chapter 2: Sea life Chapter 3: Plants and insects

Chapter 4: Cute pets: cats and dogs Chapter 5: Dinosaur world

Because there were no computers, Kasahara created the diagrams by hands, making them more organic. lllustrations by Nobuo Sliimoda and Masato Nakazawa made the publication fun for elementary school students. Chapter I is about 10 pages long, and describes in detail Sketch Techniques: 1) Paying attention to little ingenuity;2) Keeping the bi§ picture in

f ild; 3-) Let' s try new ideas; 4) Practicing folding

features;5) Two types of sketches: simplé and realistic forms; 6) Creating by association; 7) Making use of the oppositelid'e; 8) ingenuity

types; and 9) observation as the basis of ingenu¡ties. These detailed pages introduce origamidesign to the elementary school students who are motivated to come up with their own ideas. lt is a great asset even by the present day' s standards. The following aré the

liifr?,|?^l

ere we Are, THE oRRRTGAMI

Oriqami in the Movies By lVlitsuhiro Kumaoai. Yusaku Suzuki Kúmagai Mitsuyo: Tóyo Unlversity origami club "5h¡ki OriOri" third generation piesident. I like

Tyrannosaurus.

Suzuki Yusaku: Toyo University origami club "5h¡k¡OriOri" first fresident. Mí
The movie "Death Note, light up the New world" and "Shin Godzilla" were both released in 2016. ln

!he¡e movies, Jun Mitani of the University of Tsukuba cooperated in the role of document contributor, and various origami models do appear in the scenes. In Death Note, Shien is a younq cyber terrorist has folded geometric origahri aia hobby since his childhood. Several of Mitani's three dimensional origami is lined up on his desk. Also, an hdnor for Mitani, the crease patter (CP) of one of his models is used as a crest of Shien,. "Death Note" was ñlmed at the Tower Mansion in

Koto Ward, Tokyo. At that time, Mitani

participated in the ltalian convention as a guest. And because he was absent, Oriqami Housé took care of the needed during the shóoting. Mr. Mitani's works were arranged in a wide desk on the day of filming. Because there was a desire to shoot a scene on which an origami piece was folded in a rush, appropriate papei was'bought at a nearby home center. lt an actual model óf the

three-dimensional origami was folded and opened, preparing the paper to be duplicated

into its form. Masaki Sugata, the actor playing the role of Shien, seemed tó be good at ciafÍs, ó he quickly understood how to fold. Shien was a portrayed as a sharp minded character, but many origami enthusiasts who watched the movié

list of the models diagrammed on the book: Chapter 1: Dove, duák, little bird, chicken, chick, ostrich, gamecock, turkey, penguin, eagle

Chapter 2: Bivalve shells, shellfish,-crab, sea anemone, squid, sea turtle, sea urchin, jellyfish, seaweed, seahorse, tropical fish, hermit crab Chapter 3: Ginkgo leaf, tree leaf, potato leaf,

maple leaf, snail, butterfly, spider and spider web, cicada, dragonfly, water lily leaf and flower Chapter 4: Three kinds of cats (Persian, Síamese,

Japanese Cat), three kinds of dogs (Bulldog, Japanese Dog, Dachshund)

Chapter 5: Tyrannosaurus, Brontosaurus, Triceratops, Stegosa u rus Since this title is geared towards the elementary student interested in creating their own models, it provides several hints on design, and approaches for variations. lt is certainly a must read and great reference for those interested in origami design techniques.

believe hecould had been a big fan of Mitami. On the other side, in "Shin Godzilla", a structural analysis diagram left by one of the character in the movie, Professor Makimoto. This structural analysis diagram is drawn on a large square paper and holds the key to beat Godzilla-. But as it is, it is

meaningless and cannot be decoded. The characters in the movie try to decode it by folding. They study two kinds of box-pleateá CP' s, the "Bird Base" and "Human Figure Base" posted on Mitani's web site. Note: The human

figure CP, is a version that Mitanisimplified based on the base published by Tomohiro Tati.

[TRIV¡A l: Satoshi Kamiya was present at the shooting of Death Nofel We interviewed Mr. Mitaniwho cooperated with these two movies.

Bt[3grl.ppy

were you to rece¡ve these

A: Death Note, Godzilla, both are big names, so

frankly, it was a big delight to receive such requests. But, to tell the truth, I have never seen either. I learned more about Death Note, as bought the complete "Death Note" comic book I

series, after receiving the request. Q: I heard that you watched both movies. Please tell us yoúr impress¡ons. A: "Death Noté": Theré are many contents that you should know beforehand such as the rules of Death Note, the background of characters, as well as the many details to be remembered as hints in the latter half. So, I felt that it was difñcult to understand it. However, I enjoyed it from a different perspective from the original story, since from thg beginning the CP of an oiigami appeared as a symbol of hacking, as well ai a lot

of 3D origami. When I went to watch for the

second time, I enjoyed it much more since I had a better appreciation of the contents, than during the preview session.

"Shin Godzilla": The scene where orioami

appeared was extremely short, because ít diá not contain images that can depict the process of folding and its overall structure. So'. lfelt like "What ... ?" from a perspect¡ve of oriqami. On the other hand, watching the movie oveiiapped with the time when I first started workinb to tl-re Cabinet Off ce, so I enjoyed watching th"e reality of the conference scené.iNote:Mr. Miíani is activá as a science and technoloqy policy fellow of the Cabinet Office as of Decem-Uéi zol6.l Q. What kind of influence do vou think vou had with your work appear¡ngin thé móüÍea As Ior the three-dimensional oriqami that appeared in "Death Note", there seemíto be a lot of people asking "What is that" on Twitter and clearly it had in«eased the traffic to mv website. think that several people felt like tháre is some different folding methods, which are different trom the traditional origami. Regarding ,'Shin Godzilla", since the appearanceJcene was so quick, it seems like ihere was not much comments. However, among enthusiasts who appreciate the subject, it feéls like a there is a rea.ssuring presence of origami. Because I had published CP' s on my web paqe, I think that many have learned tharoriganii hás elements like pipgr.p^u4les ba-sed on creáse pattern folding. TRIVIA 2: Apart from several rilodels create-d bv Jun Mitani, one model from Chris palme? (provided by Origami House) also appeared in the I

movte.

Q. 14 the. mov-¡e, Shien is "Kira" (the name of the blackmail person in "Death'Note" is not made clear until the end, Shien hold the admiration of Kira). Shieñ ¡s porÚayé¿ as "someone who imitátes" . Havé vou tñouohi about the metaphor of someoñe ¡miiát-ei. with someone-who cont¡nuouslv foldi Mitani' s models and uses the Cp of one oÍ

(Page 36) Orisuzi ( "Fold Creases" ) Brighter Than Preshaping Model By Yuya Murakami About two stops past the Sendai station the train

window that was dark turns into a dazzling river flowíng and the trees reflected by the river bank.ihe first-timÉ rider will be surprised. That is because we are talking about a subway train. The following station is the nearest station from the destination. Arriving at Tohoku University Kawachi campus is just a few minutes'walk. Every moirth, at that venue, there is an event where Tohokú origami lovers gather. lt is a Tohoku area origami enthus¡ást meet¡ng that started just this past Octo6er. From elementary school students to housewives, the generation of particípants varies. There are also various ways to enjoy origami, including people who like cute models, people who like the process of folding, people

y.our models as a crest? Do you have any thouqhts about it? That íomment makes me th¡nk that there is such a point of view indeed. lf is indeed the case, would like to encourage Shien and shout to him: "Way to go! You are foldinq it reallv well,, (Laugh). There are many péople who have I

trouble in finish añd shaping the

three-dimensional paper models. I would"also be very interested in the time when Shien gets tired

of imitating, and start creating his owñ original models-

ln "Shin Godzilla", there is a scene at the beginning of the movie where the lost articles of

Mr. Makimoto are discovered inside the unmanned pleasure boat. Oriqami cranes presumably folded by Professór Makimoto

appears. We wonder what kind of thouqhts are possible with regards to those origamiiranes, qnq lhe professoithat changed our áestines.

Q. When foldinq cranes, we think of oositive things and praler for good directioñs, such as "pgace", "háppines-s", "victory". lt is Iike the thousand cranes or the stdtue of the

Hiroshima bomb. The "Shin Godzillá,r origami crane right at the beqinninq was a hint to solve the secret the boily of dodzilla. But because Professor Makimoío had a w¡sñ to peace somewhere in the heart. We think that there could be a reason why he chose the.origami crane out of mani oriqlmi models. Do you have an opinion ábouíthat thouoht? As tháorigami crane appeared at the beginning, there was something that made me féel liké origami is going to somehow be involved in the tuture development. When thinkinq about origami, it is quite natural to come up l,vith the origami crane...So, I do not have ány deep thoughts about "why i! needs to be an órigami crane". Now, it is indeed enjoyable to think aiout the meaning of the origa-mi crane, in thinking that there is a reason why it needed to be á

crane.

who like to simply decorate ñnished models. ln my case, I like to design my own models and to research origami mathematics.

My research theme is the Kamiya pattern and its surroundings. I am hoping to come up with a new breakthrougtr in origami mathematics and design theory. Last December we also had a meeting wñh presentations on origami science, mathematiis and

education research. I try to widen the subject matter expertize and method in c.reative origami..Though, my own techn¡ques of des.igning cool models is still ímmáture. I am working on making improvements to the next level to desígn bátter

ones. More.re_cently, I feel like the finishing of the models to be-a difficultstep. Especially for super complex models, it teels weird to come up w¡th a satisfactory base, but

each step from that point on to shape ihe model making ¡t worse and resulting in situation of "it ís not

supposed to be like that..." lt is quite painful.

However, it is fun to observe and correct the areas that did not go well and make improvements to the model. It is awesome when I find a satisffing finish. The Tohoku Origami-enthusiast meeting has just started. There is no defined timing required to join the Association as a member. lf we compare with folding an origami model, it would be similar the step of collapsing the base.

(Page 37)Origami-Zanmai (This origami and That) What Origami Represent in VisualArts By Seiji Nishikawa, JOAS board chair "Merrymakers" by Carol us-Duran By Seiji Nishikawa, JOAS board chair

Around March of 2016, lbecame interested in

try¡ng to find out more on visual

documentations, when I came across an article by David Lsiter called "Origami in fine art" - The Lister List (http://www.britishoriga m i .inf o / academic/lister/fineart.php). lt was about a painting from 1870 called "Merrymakers"'by Carolus-Duran. The picture of the painting was not available in the article, but I found oút an article on OrigamiUSA (called Friends of Origami Center of America at that time) newsletter 'lssue 1989, where a picture of the "Merrymakers" showed a portrait of a family and a recognizable

origami pajarita. lt was a perfect visual

documentation that I was looking for. Based on Wikipedia, Duran was a French painter with a strong Spanish influence. I did get very excited about the topic and wanted to research more, (Page 39) Paper Folders on File Ashimura Shuntichi

Ashimura Shuntichi was born in Aomori Prefecture in 1965, and lives in Sendai City. He is a "20th century boy" who loves Showa Kayo and Showa's W comic books. I When did you start origami? What makes you come back again? lwas 4 years old when my father gave me an

origami book so that I could spend time when I was in the hospitalwith pneumonia. I was hooked as it was possible to enjoy just by understanding the diagrams, even without being able to read á single letter. When did you start designing origami models? When I was a junior high school student, I felt that I was creating origami on my own. But I think that it was not the same as calling it creating models. The oldest model that I can still reproduce was created when I was 20 years old, and it is called "Nakamura Shusui" . lt was created when I was drinking with a friend, and it is a two-piece model. But I believe it was not until I was on my thirties when I started creating on a more regulaibasis. What kind of things do you consider important when creating your models?

I

I

We will gradually enter the stage of "finishing" ( "shaping" ) which will strengthen the ideal way of the meeting going forward. Even if something goes wrong, there is still a chance to fix it. Also encouraging is the

cooperation of Kuniyuki Fukushima and Shunichi Ashimura who, along myself, are the co-organizers of the meeting. I would like to make a meeting that all participants feel like the result is perceived to be better than the initial po¡nt.

but got completely stuck due to the fact I could not find the Japanese name of "Merrymakers" Fast forward to Autumn of 2016. I was talking to a friend of my wife who I did not see for a long time. By chance, we got into the conversation about French painters with Spanish influence, and so I mentioned about "Merrymakers" by Carolus-Duran. As she was quite impressed, she researched all possible literatures on the subject. However, documents on Duran was quite rare in the Japanese language literature, so the question on the Japanese title of "Merrymakers" remained unanswered. Finally, as I considered presenting the topic at the

December Origamí Research Meeting, I heard back from my wife' s friend, who delivered the big news: "Merrymakers" was coming to -Japan! The Detroit Art Museum Collection at Ueno Royal

Museum (Ueno-no-mori Museum) will be on display until January 12th,2017. Going to see the original "Merrymakers" felt like an encounter with an old friend. By the way, the Japanese name of

"Merrymakers" is

"E Lr X L ó'

a"

(Yorokobi-tanoshim u-hítobito, which literally ^ translates to "People having fun. "

Basically, I generally create my models freely and quite lazily. But there are some policies I decided for myself: .To recollect shaped from memory and make it become an object. That means shaping an object structure rather than just tracing its shape. lf you make it by stacking up details, you willfeel that it will be lacking in expression and feeling of life even if it is accurate, like a specimen or stuffing. I think that it is good to construct a model in the minimalistic form while exploring "what kind of impressions that object reminds me". For that reason, I do not consider pictures and documents during the process of creation. I

try to create out of my own memory. lf it

doesn' t work, then I do look at documentations, or make observation of the real thing, try to memorize it and repeat the iteration. . Foldable with regular 15cm (6" ) origami paper. Although the methods and directions are diverse, I think that the foundation of origami is "a game that children can execute (play?) effortlessly." So, I try to avoid as much as possible models that requires special paper. lf at all possible, I do not use large paper or foil. The only exception is for exhibitions and shooting

purposes.

.l avoid themes related to war and weapons. ]lrat is a personal principle that I will not change.

I

How do you come up with ideas for creatioñ?

I am

constantly exploring new themes for my

own creation. Models that were not created before. Something that I have created previously, but I want to retry it again. Animals I had seen for the first time. Something interesting at a cultural performing art event that I visited. A monster that I thought was cool, which I had seen in the movie, etc. etc. Also, sometimes as I talk with friends or get ideas

of subject on Facebook interactions. ln other words, I do have various sources of inspiration. Are there any arts (not just limited to Origami

I

artists) or works that have influenced and impacted you? I can' t think of one single name. Quoting Snufkin: "To respect too much just one individual is to lose your own freedom".

Hmmm. ln that sense,

lmight had been

influenced by Snufkin.

ln addition, when designing a character or a human figure as a theme, you tend to only fold whatever you like. I Please tel! us about your future activities and the prospects of Tohoku Origami Group. Personally, I will continue to publish my work on Facebook and lnstagram which I am currently doíng as a daily activity. I am making it at thé pace of one model every 1 0 days, so I can' t afford time to create the diagrams. So, I provided instruct¡ons in a form a tutorial based on photo steps.

The Tohoku Origami Group has just started. would like to promote exchanges with everyone who like origami in the Tohoku region of Japan. lf you are interested, please contact us via on e-mail (published in the previous issue of this magazine)or on my Facebook page:-) I

intímidated by the high levels of the image of the Tanteidan convent¡on. The scenic views of Miho pine grove and the friendly atmosphere, the proximity of the classes, all helped to create the relaxed mood. And because we were most stay¡ng at the rooms located at the venue, it was possible to see several part¡cipants enjoying ínformal late night folding. The banquet at the local Aquarium was equally as successful as two years ago. We look forward seeing you for yet another successful convention at this precious location two years from now. (Page 40)Rabbit Ear lnformation

Shizuoka Convention November 2016 By Akiko Yamanashi

The Shizuoka convention took place for the second time at Tokai University Miho Social Education Center. The experience of two years ago, was in oblivion, as panic reined in order to organize the event. We lacked people and preparation time, however the participants were kind to volunteer organizing the auditorium space, reception area, and classei. We appreciate the support of all those who made the event happen!

The special guest was Patty Grodner, from OrigamiUSA, who presented a lot of practical origami. ln addition, landing at Shizuoka Fujisan airport, 5 participants came from Korea.

A large group of first timers composed of housewives mentioned that the young teachers were very kind and taught well even for the beginners. Several participants commented that it was possible to relax in the peaceful venue and

everyone was very friendly, although ¡nitially

Shizuoka Convention November 2016 By Patty Grodner The Shizuoka Convention was coordinated by Akiko Yamanashi, one of my favorite origami artists. She welcomed me and made sure I had everything I needed for the weekend. The convention was extremely well organized and there were many interesting origami classes offered. We had a fun ATC trade one evening. JOAS provided a very nice bag with paper to fold with and offered many books and papers for sale. We also had a fantastic dinner at the aquarium! felt very welcomed by the Japanese folders. Although I do not speak Japanese, kíndness is an easy language to understand. I also enjoyed the exhibition of beautiful origami models including a large dinosaur in the lobby! I would like to thank my gracious host, Makoto I

Yamaguchí and his kind family for their hospitality! Thanks to Marcio Noguchi for translating my classes. Yamaguchi-san also provided excellent sight-seeing after the convent¡on was com pleted.

lnternational Origami Conferece at Meiji

University and the 21st Research Meetin of Origarñi in Science, mathematics, an educafion Report by Jun Maekawa Professor lchiro Hagiwara of Meiji University was the chairman of event held from November 9th to 12th, 2016, at the Meiji University Nakano

campus. The "ICMMA 2016" meeting had "Origami-Based Modeling and Analysis" as the base theme. ICMMA stands for lnternational Conference by CMAA (Center of Mathematical

Modeling and Applicat¡ons). At the conference, there were lively exchange of information, mainly by presentations of about 30 researchers and writers gathered from Japan and

abroad, including Professor Eric Demaine of

Massachusetts lnstitute of Technology (MlT),Tomoko Fuse, among many others.

Although the research on the folding structure and its surroundings did not yet find many practical applications, it is a field expected to develop greatly, with storage deployment, shock absorption, automatic assembly, adaptive deformation and so on. lt is very exciting for to see interchange between sculptural artists,

scientific engineering and mathematical

resea rchers to be ca rried out even if they a re not applied to practical applications. Yet again the keyword "origami", which includes the folding structures, attracts wide attention beyond its own

field. This conference also offers a good opportunity

for the individual writers to summarize their model and research and to get in touch with other researchers, especially young students. Speaking of young students' research, there were also poster sessions during the exhibition, mainly by postgraduate research students. The research is summarized in one poster, the presenter stands

in front of it and explains the contents to the participants of the meeting. About 20 posters were presented this time. Although I could not see them all, but there were various contents ranging from conceptual ideas to solid research.

There were over 30 presentations at the

conference, all related to origami. The posters were evaluated and awarded prizes. The Best Poster Award was given to Takehisa

Matsukawa, a graduate student studying computer science at University of Tsukuba on "Simple and minimum creases, can be collapsed locally but not as a whole, square and 45 degree lattices" . This research by Matsukawa was presented at the Origami Science, Mathematics, Education and Research meeting organized by Japan Origami Academic Society (JOAS) and contributed to the paper on "Origami Science No. 5u.

Also, Professor Zhong Yoo of Oxford University, one ofthe attendees, once again announced that the 7th Origami in Science, Mathematics and

Educational (7OSME) international conference

will be held in Oxford in 2018. I About one month after ICMMA 2016, the 21st edition of Science, Mathematics, Education and Research Conference of Origami, sponsored by the Japan Origami Society, took place. Together with the Kyushu group (the OrigamiTanteidan Kyushu Tomonokai), that connected via lnternet broadcast,50 participants gathered to make the even a big success. The participants listened enthusiastically to 10

diverse presentat¡ons on Mathematics,

Engineering, Humanities research, including the flow of ICMMA, the backstage stories by professor Jun Mitani of the Tsukuba university on the movies "5hin Godzilla" and "Death Note", origami

painting f rom the 19th century, by Seiji

Nishikawa, Misako lshii, among others. These continued workshops strengthened the

desire that the development of the origami's research will be as enjoyable as the development of modeling CDO Convent¡on Report (8-t t December 2016) By Chio Kawai Participants give the stamp of approval for the reputable ltalian convention. Looking at the entry

list, there were 253 participants from 15 countries. Due to the advantage of the

geography proximity, they came fr om Germany, France, as well as 10 "Orígamians" from lsrael, making it quite an international convention.

The classes were mainly held in the big

auditorium, arranged into "islands" made of table grouped together. Most classes did not have

limitation of the number of students, making it possible for all participants to join their desired classes. Time ranged from 30 minutes to 120 minutes in 15-minute increments. When the class would start, the name of the model and lecturer were announced at the stage, and the instructor would wave "Here -!" Then cheers, banging the table, and dances would mark the beginning of the class with a lot of excitement. I do not dislike such chaos. Quite on the contrary, I quite like it because it improves the mood just like the feeling in a big party. It is worth noting the movie of about '15 minutes which the CDO staff shot during the convention was screened on the last day. For an origami

creator who dislikes conventions, ¡t is a silent

comedy that touches the wrath of the

convention gods, the sincere friendliness of the

staff who engender from the screen, the

attractiveness of performers who perform, tears do came out to the consideration of ensuring to enterta¡n the participants. The Tabiano village is in the mountains where morning and evening deep mist wraps the warm air. The outside temperature was like a different world. I spend very cozy four days that already feels nostalgic.