IDAN

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Harmonized Chequered Tessellation onto Origami Surfaces

SUHEffi HA#EE
Tokolo Asao Araki Yoshiaki

(EEEEEE)

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Little Bird

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Katsuta Kyohei

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Diamond Cubic Renzuru (Cranes)

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Minami ltsuki

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Registration Open for the 24th Origami Tanteidan Convention .J00=
 E^ffiffi+á (JOAS)
The Purpose of Japan Origami -\cademic societl
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2. Japan Origami Academic Soc¡ety. 7 á ,

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Chapter 1: Name and Purpose

Article l: Name
l 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 international 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
so on

OIF U ÉOffJ*=tE svMaoLS FoR FoLDTNG

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Line indicat¡ng Line indicating Fold paper 2lt á Pleat fold
va¡ley fold mountain fold torwards fuiak n; i: crease ife

rc"{ Etátf
-} woe6
t}
U 4
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Turn paper Pull out
liEá§g12 á A masn¡f¡ed v¡ew ¿26 # L?,§¡t cut
Rotál¡o¡ A hidden line Push paper in

rtJtH¡ (P.26) r,BlEÉffrrÉÉT aóAWE.É,l¿J.á.t art a)*'c'EHHo rOá t t LttcÉffi "l.H

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Little Bird (P.26) ár+{¿¡. D *rh\, z zh\ ó1Éa77'v)7'v) l¿t,t¿Lt ,)tsF} t/<4.<< r¿é r\.
by Katsuta Kyohei (Elai¿:ltlñEÉ.) Comments : Hojyo Takashi
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MAGA Z IN E
EEINtrtrf,IEH
*,. 169
P.4
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Modular Origami Quartette
llltJdt§á
Kawamura M¡yuki

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Brilliant Cut

P.8 $Dh\A+X**fr
Origami Odds and Ends
?*<'ÉH
Yamaguch¡ Makoto

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New Pupil

P.13 ffiiFülffilffiO P.16 +Ffift8=gEoñ:tflEDr5 IhffiHÉ

Hojyo Takash¡

tf DffiroEf"l From the Bookshelves of the JOAS Library

Harmonized Chequered Tessellation trüffi ETd}f D f;ft J tr ñHT4'F D frft J

onto Origami Surfaces "The Beauty of Origami" and "The Graceful of Origami"

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Tokolo Asao Araki Yosh¡aki Nish¡kawa Se¡j¡
Here We Are, THE ORRRIGAMI TANTEIDAN

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P.26 rJrHi Miniature Cranes from Senbazuru Orikata

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Paper Folders on File

Katsuta Kyohe¡
Ull¿.Íp,
Kade Chan
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Marcio Noquchi
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P.3s Eh:E+FDt¿UtsHt!
Crease Pattern Challenge!
P.7 +frDfrfr,A'HiB frffi*r+
Fuse Tomoko
9-ltrÉ7t§ffi=trEE
Diamond Cubic Renzuru (Cranes)
Origami and lts Neighbors

P.36 óDEU TAáÍEÉ

Matsumoto Kazuyo
É'Éf Orisuzi ("Fold-Creases")
Minami ltsuki
P.37 +FffiE^E++ ÉÍ,II iH
Maekawa Jun
Every Minute Origami
'.20 t UiJi..7 t l.-#v 7 U -
Origami Photo Gallery
9EA¡frDg.EffiB}E#tEffiED
Models Based on Diagrams and Crease
P.40 2t A$D Rabbit Ear

Patterns of This Issue #24E,+fr tfr#{H E

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the 24th Origami Tanteidan
Comments : Hoiyo Takashi Convention
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It is a feature of brilliant cut that the light coming from abcve rs reflected in
t¡¡fia¡oá
Kawamura Miyuki
inside and comes out again from the top. Paper does not trans'nit lrght. but if
you make this model with paper that reflects light well, you wilL fee a sense of
transparency. lt is nice to make this model from foil paper with a v¡rc:" :+ 2lo
3 cm, place it in a bright place and look from a little away.

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DIAMOND STRAP
<3OtlñEo)/¿bl)ffifrfrü4 7'l Paper size for 30 modular model.
2: 14.5 fg¿.q3.<ñE¿j.1]¿< ót:tt¡!\ / Too shorr to assemble a model.
25/12 : 15.5 ------é& )8RL\ü4 7 / Proper size.
2: 15 -89 á.óá§lEBla]¿< FIfrV, / Too long but it can be assembled.

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l t!.t¿tJ+frD ?t§::Él¿+fiD ztf<-j,Él¿llfiá" lfrD L|ltc*lYi Ztf-:Ét¿+frá.
EA2üá" EA.2\Já" Fold two tYh'L¿hfrá" Fold two
Fold one layer Fold two layers layers up. Fold the flap layers up.
and unfold. and unfold. into half.

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2.1cm x l5.5cm ta<+ft?=t
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Fold strongly
and unfold.
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Fold one layer and unfold. Do the same on the other side.
I

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Fold along the second
line from the left. @ffi _La2+\t¿ü+fr0 LtJá"
@ h' D tfr D á&2 ll tc ó Afft
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Fold two layers up. Fold strongly and unfold.

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Fold two layers up.
Fold along the second line from the right atlq.
/@ Fold strongly
and unfold.

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A magnified view. l-)

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ffi4 )a7-'y7ái<6"
MM Do the same on
+É\D+fiD"
lnside reverse fold.

the other side.

Stand the four flaps up.

@ H¿;IEUOtst,
HT#I¿EHfrD"
+ffi7)ÉtÉHfr1" Do the same on
@ Fold the front wall. the back wall too.
+*Éllá¿\YElr /s 6 5.*= a . +*Tü+ÍD"
ffiltffiYtt¿t¿á. Mountain fold along
Open the center part to flat. the center line.
The left and right parts become
a box shape.

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Q0 oo the same on 4 *g¡Vn\áFztr<,í¿ * ¿ ó /eá t 5.
the other side ÉÉth,Í',0>lvlfrD.
@ (n^*^ A magnified view'
7U'y I
7l)'vJ
Fold the center part into a fan
shape, and make a cover fold.
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Strap
+, ;
@ -roüffi b@-@¿ tEffi r¿iÍá.
r91YÍ> l:' 7l- 7'v 7 t Aa-='v l-
Do the same steps @ to @ on the
other end.
The DIAMOND STRAP module
Flüto7>t 30lHlFD#-t
You need 30 modules.
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Fold the left end so that the strap part is flat.

+=\D+ft2" tor l'r+rED"

lnside reverse fold. Do the
same on the upper corner.
b--fraffi+) -ÉE*r(: ¿Ét ¿{,'.
Insert it all the way into the space
ta, t_ @-.-@LlEffil¿}Ía.
Do the same steps
HlLtll¿ürá ,,/ @ to @ on the other
end. \---=---
+frDiEi. ( \ l:J--
9-/ -
Fold the bacf< \\-
corner to the rightl-i--z
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The entire view.
6
s Zco>h l{á+*oEffiú)Tl¿Ét ¿ü.
lnsert the two corners under the center disk

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 =frah Nl¿L).?á. 32bDa-'y l-&
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Pull the module until lnsert the third
z.f)'y7t the triangular flap. module.
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lnsert a strap
a-'y lá
into the slit. É{,¿ü.
Insert the
fourth
module.
@

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Open a
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fifth module
7l='yA&. and insert.
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Fold the strap, insert it through Ftz)L¿báa-'y loTA.
the slit and put into the under ( (:(tt¿,t3-.
the center disk. Passing through the slit, go under
the next module and put the strap up

30t fE
3O modules

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on the surface
</
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DIAMOND STRAP

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lnsert the sixth strap
The seventh
through the fifth slit
and make a triangular
window. lnsert the
62úrDa-'y l. other modules on the
The sixth module. same way.

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The theoretical values of the paper shape for which the assembled side becomes a flat surface
and the ratio used for actual model makinq. Depending on the paper thickness etc., it is necessary
to use a paper slightly longer than the theóretiial valué.
ffifl)fr7l Shaoe of face IE;ñlÉ/ Theoretical value Fflf;@ülZlActual paper shape
Éfrfr, / Square 1:23/4 Zcm x 1Zcm
É 5 frtr,/ Regular pentagon 1. 31/4 + 2,/5 25/1Zcm x I 5.5cm

You can make only the center part and use it for decoration.

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Follow step 0J
óT*18!j,\+Íó. Decoration part
-l
r to Fold two flaps backward
with I : 2paper. at the point of the end
of the center disk.

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and gaps such as cover folding : Put the four corners
^n<HvDllr,tá"
and blintz folding, etc. :
of the part in the slit. t2thxg
l2 modules

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HsrE
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firl{f.lfit)@:
^+fÉ+by Kimura Yoshihisa
Model and Diagrams

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The Origami Tanteidan Digest
The objective of the Origami Tanteidan Digest is
to share the articles on Origamí Tantéidan
magazine and provide an English summary of
most (but not all) text. The numbers indicateij as
"Page xx" refer to the page numbers of the
original articles in the magazine. While not all
content is translated, it should give you an idea
about what the article is about. We hópe you will
enjoy. Let us know if there is anyth¡ng we can do
to improve or any further comments. Please
contact our editorial department at:
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(Page 7)origamiand lts Neighbors
#88 - Taking up the baton
ByTomoko Fuse
At the end of February, I received obituary news
of Mark Kennedy from the US and John Smith
from UK. Both of them did leave their unique
marks in the origamiworld.
Makoto Yamaguchi, who informed me about the
death, said "Mark was loved by everyone around
the world". Iagree. His pin badges and
accessories are well known. Although he made a
lot of them and sold them, for sure he has given
as many, or probably more, as gifts. Even though
I always knew he would play some tricks, I wou-ld
startle with surprise. I last met Mark at the 50th
BOS convention. Just as expected, he gave me an
envelope with a gimmick that would make a
noise and pop out. Like on a sketch comedy,
Mark and I as well as allthe others around us
would laugh endlessly. I am sad to think that we
will no longer be able to see him at various
conventions and his sparkling shiny pin badges.
John Smith always had a smile on his face as if
thinking of a joke. Those who do not know of
him should visualize the shogi (Japanese chess)
player Hifumi Kato. I think they have a similar
expression. Because it was difficult for John to
attend the BOS convent¡on, but he sent a video
message, and talked about good memories and
expectations for the future. I had not had a
chance to have close conversations with h¡m, he
was a long member and critical individual of BOS
together with the late David Lister. I will miss his
presence, which was almost like a fixture at all
conventions.
When an origami friend dies, I feel the time
flowing. Both of them had certainly passed the
baton to the origami world. lt is said that:
Table of contents
(Page7)origamiand lts Neighbors
(Page 13) Close-up
(Page '16) From the Bookshelves of the JOAS Library
(Page 18) Here We Are, THE ORRRIGAMI fANfEtDAN
(Page 36) Orisuzi ( "Fold Creases" )
(Page 37) Shirokujichu ( "Origami Around the Clock" )
(Page 39) Paper Folders on File
(Page 40) Rabbit Ear lnformation
Translated by Marcio Noguchi
"Origami is beyond any national borders, it is
about sharing fun and joy regardless of race,
gender, age or occupation." I may sound a boring
speech, but they truly practiced it. That w¡fl
revive in our heart. I remember the warm
atmosphere and the soft smile of both of them. I
pray for their souls.
(Page 13) Close-up
Development of Harmonized Checkered
Emblem, based on Origami
9y A!.ao Tokolo, Yoshiaki Araki Japan
Tessellation Association
Asao Tokolo - Born in Tokyo in 1969. Learned
architecture from childhood, studying under
Egashira Shin. ln September 11, 2001, he began
creat¡ng patterns with the theme "connection"
and continues his activities in the boundary areas
of art, architecture and design. Based on iimple
geometric principles, we also produce coat of
arms and patterns that can be reproduced with a
ruler and compass, as well as
designing/producing three-dimensional objects
applying similar principles.
Yoshiaki Araki - Born in Tokyo in 1973.
Completed the Graduate School of Policy and
Media, Keio University, policy and media PhD.
Specialized in mathematics of tiling (tessellation).
Conducts educational activities at workshops
using puzzles. As a collaborative researcher of
ERATO ltami Molecular Nanocarbon Project, he is
involved in the design research of nanocarbons.
Two years after their announcement, the Tokyo
2020 Olympic and Paralympic Games emblems
(Figure 1)can now be seen everywhere in the
city. ln January of 2018, a checkered pattern
origami was released a trademarked item. This
article will present an interview with the designer
and artist of the emblem and his assistant K,
about the connection between the emblems and
origami.
I Folding the rectangle of the emblem
Araki (A):The emblem is made up of many
squares.
Tokolo (T): The Olympic and Paralympic Games
emblem are both made of the same 45 types of 3
kinds of rectangles.
A: They are rectangles, but one of the three types
is a square. The thicker rectangle seems familiar...
Assistant K (K): The ratio of the TV screen is
almost the same.
A: Then, what is the remaining long narrow
rectangle?
K: lt feels like you want to hold it vertically with
your hand.
A: I want to hold a brush on the other hand.
K: Oh, it also looks like a paper strip of the
Tanabata [Festival].
T: (Laugh). Even if there are differences in shape,
we chose the shapes with the wish to build up
strength together.
A: lt is perfect with the image of the Olympic and
Paralympic Games which is made up by different
people from different countries, culture and ways
of thi n ki ng.
K: To get to know better the three types of
rectangles, making origami is the best approach.
Let's start from the original rhombus which will
be the base for the rectangles (Fig. 2).
A: So, we have to simply fold some origami,
right? That is something I can do.
K:The three rhombuses can be made by cutting
with scissors.
A: Actually, the square is also a rhombus with an
internal angle of 90 degrees.
K:Yes, the arrangement of the rectangles in both
of emblems is determined by the rhombuses.
A: When it was found that the emblem was
created based on mathematics, it became a topic
on the lnternet, right after the announcement of
the Harmonized Checkered Emblem.
K: Place the rhombuses you made at one vertex
and align them.
A: lt is possible to make a lot more than one can
think of (Figure 3).
K: There are I80 possibilities of arrangements
around one vertex.
T: The ratio of the internal angles of the three
diamonds are 3: 2: 1.
A: The inside angles of these rhombuses are 90
degrees,60 degrees, 30 degrees respectively (Fig.
4). We can certainly see that there are various
combinations of these angles that will create flat
patterns.
T: ln terms of the area and height of the
rhombus, the ratio is2: J 3:1 (Figure 5).
K: The ratio of the area of the three kinds of
rectangles is also the same 2: .,f 3:1. At last, let's
make a rectangle from a diamond shape. Please
fold the corners together for find the midpoint of
the sides of the diamond.
A: The square can be folded into a smaller square
using the midpoint creases.
K: For the other rhombs fold the opposite sides
on a straight line, then fold connecting the
middle points (Fig.6).
A: Greatl The square, TV screen rectangle, and
strip rectangles can be created in that way!
I Checkered pattern origami paper
A:Origami paper with a pattern like the emblem
was released (Figure 7).
K: So, in this origami paper, the previous three
kinds of rectangles are arranged side by side in
an arrangement other than the one used in the
emblem.
T: Please try folding a crane [using that paper].
A: Oh, the pattern connects when paper edges
align, right! (Fig.8).
K:Yes, because the rectangles are arranged in a
periodical sequence. ln connection to the
"Harmonized Checkered Emblem" I am calling
this "Checked Pattern" origami.
T: lt's fun to fold the Fortune Teller.
A: lf you move your fingers... and open or close
the Fortune Teller, the pattern does not get
broken! (F¡9. 8)
K: I would like to see many folders folding various
models and experience the pleasure of
connecting [the pattern].
A: lt is wonderful to be able to realize the
"connected world" aimed at the Olympic and
Paralympic Games by simply folding origami.
I Checkered Pattern Crease Pattern
A: lt looks like there could be further
developments possible with the Checkered
Pattern Origami.
T: For example, what happens when creased
along the pattern ofthe checkered pattern?
K: 5o, in other words, make the pattern itself
become the CP.
A: Since it is hard to actually fold it, let's simulate
on the computer. All we have to do is to
determine whether mounta¡n or valley fold by
color on the edges of the pattern and upload the
data fi1e...
K:Oh, this is unexpected! (Figure 9).
T: l'd liketo see other folding methods too.
A:There seems to be many other combinations
of folds possible, which sounds like an interesting
problem.
K: So, how about asking the help of the Origami
Tanteidan detectives?
T: Please, join us and create a new shape with a
checkered pattern!
List of Figures:
Figure 1: Tokyo 2020 Olympics . Paralympics
Emblem.
Figure 2: How to make three types of rhombuses
which form the rectangular arrangement of the
checkered pattern. Video:
https://www.youtu be.com/watch ?v=JZDXe3eyF
6c
1. Create three crease on the horizontal and
vert¡cal (quarters)
2. Pivot from point A and fold so that the point
lies on line C
3. Pivot from point D and fold so that the point
lies on line F
4. Pivot from point G and fold so that the point
lies on line I
5. Pivot from point.J and fold so that the point
lines on line L
6. Using the scissors, cut line segments AM, GM,
JM into three rhombuses
Figure 3: Three types of rhombus spreading
examples that form the rectangular arrangement
of the checkered pattern
Figure 4: Relationship of interior angles of three
types of rhombuses that form the rectangular
arrangement of the checkered pattern
Fi-gure 5: Relationship between area and height
of three kinds of rhombuses that form the
rectangular arrangement of the checkered
pattern
Figure 6: How to make three types of rectangles
that make up the group checkered pattern
Figure 7: Checkered pattern origami paper
(licensed product)
Figure 8:Models created using checkered pattern
origami paper: Crane and Fortune Teller
Figure 9: An example of a three-dimensional
shape created as a CP ofa checkered pattern
(Page 16) From the Bookshelves of the
JOAS Library
Book #61: "The Beauty of Origami" and
"The Graceful of Origami" by Yamaguchi
Makoto
Article by Takashi Hojyo
Takashi Hojyo: Born in Tochigi prefecture
currently lives in Tokyo. Board member of Japan
Origami Academic Society (JOAS). Has
determined a good folding sequence,
so
currently working on the diagram for "shibaraku"
albeit a slow process...
ln this series, we introduce publication items of
interest from among the materials in the Japan
Origami Academic Society UOAS) library. You can
search the origami library's collection on the
Origami Tanteidan website. For details, please
visit http://origami.g rjplLibrary / .
"The Beauty of Origami" ( "Tansei no Origami" in
Japanese, or "Beauty" for short) and "The Graceful
of Origami" ( "Shurei no Origami" in Japanese, or
"Graseful" for short) are gorgeous model
collections that not only creative artists from
Japanese but also from around the world
contributed their masterpieces in response to
Makoto Yamaguchi's callfor models. lam
extremely honored and excited about the
inclusion of my own model.
Published in 2015, "The Beauty of Origami"
B included a collection of several models difficult
to find on books on the shelves of general book
E stores. Then, the second volume "The Graceful of
Origami" was published in 2017, narrowing down
H the number of models, and increasíñg the
complexity levels and number of steps. The list of
K the models is provided below, include many long
cherished and nostalgic ones for those who had
been subscribers of "OrigamiTanteidan "
Newsletter s¡ "Qsart€rly ORU" Magazines. On
the other hand, it should also constitute a
composition of models that may lead to
discoveries and new awareness, for those who
started origami recently. Also, it should please
those who became interested in origami, and the
diagrams of models were not available any
longer since they were already out-of-print,
including "Crane Extraterrestrial" ( "Tsuru
Seijin" ) or "King Ghidora" .
"The Beauty of Origami" Model Compilation (50
models)
"Triceratops" by Makoto Yamaguchi, "Mammoth"
by Makoto Yamaguchi, "Pteranodon" by Makoto
Yamaguchi, "Archaeopte ryx" by Makoto
Yamaguchi, "Stag Beetle" by Makoto Yamaguchi,
"Samurai Helmet Beetle" by Makoto Yamaguchi,
"Hercules Beetle" by Makoto Yamaguchi,
"Makoto-Butterfly" by Michael LaFosse,
"Parakeet" by Makoio Yamaguchi, "Toucan" by
Makoto Yamaguchi, "Cardinal" by Roman Diaz,
"Swan" by Yoshio Tsuda, "Emperor Penguin" by
Quentin Trollip, "Fish Skeleton" by Makoto
Yamaguchi, "Spiral Shell" by Toshikazu Kawasaki,
"Yellowtail (Farmed)" by Kyohei Katsuta,
"Dolphin" by Fumiaki Kawahata, "Mouse" by
Makoto Yamaguchi, "Box-like Cat" by Makoto
Yamaguchi, "Rabbit" by Ronald Koh, "Papillon" by
Hideo Komatsu, "Panther" by Makoto Yamaguchi,
"Panda" by Makoto Yamaguchi, "Lion" by David
Brill, "Horse" by David Brill, "Hippo" by Robert J.
Lang, "Giraffe" by Gen Hagiwara, "African
Elephant" by Chuya Miyamoto, "Griffon" by
Makoto Yamaguchi, "Cerberus" by Makoto
Yamaguchi, "Angry Fish" by Bernie Peyton,
"White Rabbit in the Wonderland" by Keigo
Matsuda, "Tsuru Seijin" by Shinji Sasaide,
"Northern Dragon" by Takashi Hojyo , "Tri-horn
Dragon" by Chuya Miyamoto, "Reaper" by
Noboru Miyajima, "Pegasus" by Satoshi Kamiya,
'High heels" by Makoto Yamaguchi, "Geta"
(wooden clogs) by Yoshio Tsuda, "Makoto Rose"
by Makoto Yamaguchi, "Boots" by Makoto
Yamaguchi , "Santa Claus Tetrahedron Box" by
Makoto Yamaguchi, "Pierrot Clown" by Seiji
Nishikawa, "Book" by Martin Wall, "Akabeko"
(legendary cow from the Aizu region of Japan) by
Makoto Yamaguchi, "samurai Helmet" by Makoto
Yamaguchi, "Mt. Fuji" by Akiko Yamanashi, "Key
to Love" by Francis Ow, "Nuts and Bolts" by David
Brill.
"The Graceful of Origami" Model Compilation (28
models)
"Karasu Tengu" by Satoshi Kamiya, "Kaikotsu-kun
2 - revised version" by Takashi Hojyo, "Fairy" by
Yoshihisa Kimura, "Rockhopper Penguin" by
Makoto Yamaguchi, "Swallow" by Sipho Mabona,
"Owl" by Yoshio Tsuda, "Little Bird" by Hideo
Komatsu, "Corrie" by Ouchi Koji, "Poodle" by
Roman Diaz, "Dalmatian" by Makoto Yamaguchi,
"Chipmunk" by Kyohei Katsuta, "Raccoon" by
Quentin Trollp, "Butterfly" by Makoto Yamaguchi,
"Longhorn Beetle" by Seiji Nishikawa , "Hercules
Beetle" by Satoshi Kamiya, "Crane-kaiju Tsurura"
by Shinji Sasaide, "Black Dragon" by Yoshihisa
Kimura, "Godzilla (2016)" by Satoshi Kamiya,
"King Ghidora" by Keiichi Kozasa, "Pegasus" by
Fumiaki Kawahata, "Reading the Newspaper" by
Herman van Gouberqen, "Rose crane" by Satoshi
Kamiya, "HydrangeJFold " by Shuzo Fu;imoto,
"Bubble Eye Goldfish" by Ronald Koh, "Swiss
Army knife" Jun Maekawa, "Anomalocaris" by
Fumiaki Kawahata, "Tyrannosaurus Rex Skeleton"
by lsseiYoshino.
Both books are basically the same in its overall
structure, with each model including a five-level
complexity indicattor. Both of the books contain
in the first half part, models relatively simple to
fold, centered on Makoto Yamaguchi's designs.
Even for those that "are inexperienced in origami
who picked up this book at a bookstore is
strongly attracted to and complimented by a
more complex model selection of the second
half" , which would be a matter of progressing
while learning basic skills and making progress
possible. On the other hand, "Beauty" has a
section conta¡ning basic information, the outline
of supplementary information (such as "How to
choose paper ", "About tools", "Wet folding",
"About glue for shaping"), while such sections are
omitted in "Graceful". Considering the degree of
complexity of the models included, for the
complete beginner of origami the progression
from the "Beauty" to the "Graceful" would be a
suggested sequence. So, although it may be seen
as a Spartan approach, I recommend both books
in a set for those who are currently
inexperienced, but likely to become addicted"
(independent of the age).
For all the models, the CP on both photos of the
final work on the introduction pages and as well
as folding diagram pages. However, l' m not
necessarily recommending to fold based on the
CP, but rather as "a picture that makes it easier to
grasp and understand the structure of the
model". ln addition, both books have included a
"Glossary" and "Artist Profile" at the end of the
book, which together with the CP makes the
composition and content description feel not too
excessive in terms of the "maniac atmosphere".
For those who are already interested in origami,
they should embrace the various information as
an opportunity to learn more.
As written by Mr. Yamaguchi on the
"lntroduction" of "Graceful" , "lt is the most
emotional to publish lssei Yoshino's
Tyrannosaurus skeleton ", that is the main model
of this book. Published in 1993 by Origami
House, the "Tyrannosaurus complete skeleton"
has been out of print for a while. But with
"Graceful", it is now finally possible to obtain the
diagram through a regular route, and also as a
book sold at general book stores. I would like you
to thoroughly enjoy the long diagram of the
model covering 43 pages from the beginning to
the end.
I would like to share some personal memories, as
I learned about the existence of the Origami
Tanteidan (Detectives) Group, the predecessor of
the Japan Origami Academic Society, because of
a poster of "Tyrannosaurus Skeleton" that was
affixed to the entrance of Origami House. I
immediately bought the back numbers of the
newspaper, and I was crazy and moved forward
w¡th Origami. lt is a sophisticated design, unique
as a composite modular modelthat is difficult to
achieve with single sheet of paper. lt was a
complex feeling of incompatibility and rationality
when combining different parts to be assembled
together, which I had never felt with modular
models available thus far. The techniques and
shapes that are possible because it ¡s a 21-piece
composite incorporating in its vigor. ln addition
to that, despite it is designed with the same
paper size for all units, it produces a very
well-balanced body configuration. Moreover, it
reminds me when of origami diagrams "when
Japan was in the dawn of a diagrams created on
computer". So, that was quite impressing.
Three-dimensional steps that appeared
frequently are also illustrated with the necessary
and sufñcient amount of precise information
details. Particularly in the three-dimensional step
of "tail-bones 1 to 4", which is at a level that
those with experience in diagramming should be
able to appreciate the "headaches when drawing
such steps over and over". Despite being 27 years
old since it was first made public, it has become a
diagram that does not age, even at the present
moment.
ln addition, there were some other models that
left a strong impression. I will list "Reading the
Newspaper", "Black Dragon", "Horse", "Lion".
Those works are models that require a sense of
delicate shaping after completion, not finishing
just by folding as shown in the diagram. I wa!
intrigued since the time they were presented on
another medium before it was listed in "Beauty"
and "Graceful'. lt is deeply emot¡onal to thínk
that ¡t is an era when they can be presented
together in such a way.
Up to this point, lhave been a very biased
towards my personal way, hobbies / trends. But
of course, "Beauty' and "Graceful" contains
several models that can be completed by
following the diagram with high degree of
accuracy. You can go back and forth between
various models: single sheet or modular, simple
or complex, curved finish... etc. ln doing so, many
say that it is a world full of unknown territories
and various attractiveness, which does not make
you feel like you understand as simply as:
"Origami is xxx", which I hope that it will be a
catalyst for people to have different feelings.
List of Figures:
Figure 1:The Beauty of Origami
Figure 2: The Graceful of Origami
Figure 3: Example of three-dimensional step of
the Tyra n nosau rus Skeleton.
(Page 18) Here We Are, THE ORRRIGAMI
TANTEIDAN
Miniature Cranes from Senbazuru Orikata
By Seiji Nishikawa
This section willexplore a wide range of topics
related to origamí and introduce you to some
little interesting trivia facts. We also accept
questions, and additional information from
readers. Please, feel free contact us via email
webma n6loriga m i.g r.jp.
Mitsuhiro Ema - Born in Shizuoka prefecture in
1975.1n 1998, he folded the (then) smallest
Japanese orígami crane in Japan with a 4 mm
square. Appeared in "Terebi Champion . Hand
dexterity championship (TV TOKYO)"
"Mezamashi doyoubi (Fuji TV)", "Arashi ni
Yagare NW)" among others.
Seiji Nishikawa - Born in Nara Prefecture in
1963. ln '1989, together with Yoshihisa Kimura
and the late Issei Yoshino, took part "Origami
Dinosaurs 3 artists Exhibition". He later
appeared as champion of "Terebi Champion
1st Nat¡onal Origami Championship (TV
TOKYO)", "Tamori Club (TV Asahi)", "Watashi no
Himitsu (My Secret) (NHK)" and others.
Trivia 1: The connections of the Senbazuru are
carefully cut thin and folded.
Trivia 2: Each of the four corners (with 24
cranes) of the "Hyakkaku" takes one day for me
to fold, so 4 days to complete.
The tiny "Senbazuru Orikata" presented here
attracted a lot of public attention in the
general exhibition at the Nagoya convention
last year. Mitsuhiro Ema, living in Hamamatsu
City, created it. The precision of this model can
be seen in the color gravure, so I will explore
the secrets of its creation.
OTiny OrigamiJ
Origami includes unique expressions such as
oversized origami or tiny origami. Models that
are much larger or smaller than normal are
íntriguing and viewed with great admiration
and surprise probably because of the relation
to the premises that they achieve their
representational shape just by folding. They
stimulate the imagination related to the
expression based on the way it is constructed.
There are some secrets that can't be
understood with the oversized or tiny, larger or
smaller than normal. Lately, extremely small
origami-- created based on science and
technology techniques such as folding with
cells or with molecules -- are popular.
However, models that folded just by the hands
and fingers are breathtaking and generate
"Wows!" lt is rare to find individuals that uses
the technique of micro folding to fold
"Senbazuru Orikata" using extremely small
origami paper. I can only imagine that folding
tiny cranes without breaking their connections
should wear out one's nerves.
lln case of Mitsuhiro Emal
I Could you tell me your age and occupat¡on?
l' m 42 years old, and I work at the post off ce.
I When did you start folding tiny cranes?
When lwas a high school student, I would tear
pieces of paper to fold in my free time. Then I
tried to fold senbazuru cranes. When I was in
2nd to 3rd year at high school I started folding
senbazuru cranes with a 10 mm square paper.
I When did you start folding Renzuru
connected cranes as a theme?
I folded "lmoseyama" around 2003, but it was
about 2008 when I thought about trying the
"Hiden Senbazuru no Orikata" .
I How many out of the 49 types did you fold?
lfolded all the 49 types.
I What is your favorite Senbazuru no Orikata
model? And why?
Although I have not specially thought about it,
I was commissioned to produce Renzuru, or
when lam asked for models for photo
shooting, I often fold the "Tsurifune" (Fishing
boat). I think that it is a model that easy to see
that it is connected by a single piece of paper
and also because the final model actually
hangs beautifully.
I ls there any techniques involved in the
folding procedure of the cranes?
The procedure is the traditional method of
folding twice into a triangle. I also fold the
peta l-folds after creatin g pre-creases.
I How long is does it take to produce one?
Because lcan' t fold a complete model
without taking a break, I am not totally sure of
the actual elapsed time. But I estimate that the
"Tsurifune" and the "Seigaiha" would take
some 3 to 5 hours. Each of the four corners
(with 24 cranes) of the "Hyakkaku" takes one
day for me to fold, so 4 days to complete.
I Regularly, what is the size you use? How
small was the smallest one?
I usuallyfold a crane based on a 5 mm square.
tried a 2 mm square, but because I can' t fold
it well, 3 mm square would probably be the
smallest. My "Renjuru" connected cranes are
mostly based on 5 mm square, with 10 mm
square for the large cranes, and 3 mm for the
small ones.
I I know you fold almost entirely with your
fingers. But what kind of tools do you use
when you need them?
I usually fold individual cranes just with my
fingers. But for the renzuku connected cranes, I
use tweezerS.
I How long does your concentration last
during a day?
lfold one crane and rest a bit. For a single
crane, it would take me about 10, 15 m¡nutes.
But, because I tend to fold watching TV, the
folding would usually stop. So, it is not a really
a feeling of immersion. Rather, I am not very
good with folding silently in quiet places.
I What kind of paper do you use?
"Kami no Ondo" (paper temperature) custom
hand-made washi solid color (1000/o
Mitsumata) from Nagoya.
I also use ordinary Yuzen paper. "Chou Usu
Origami Soft" (Ultra-thin Origami Soft) for 3
mm or smaller cranes.
I Are there any special paper treatment to be
aware of,.)
For senbazuru that requires folding one crane
from two squares, one on top of another,
shave offthe paper with a cutter to make it
thinner so I have to be careful to make it even
so that it will not tear.
I What kind of exhibits have you done in the
past?
Local "Yamasato Aruki" event, or Nagoya "Kami
no Ondo" and events at Kuwana, Tokyo and
Shizuoka TV stations events, industrial trade
fairs in Hannover, Germany and events on
introduction of Japanese culture in ltaly and
Milan.
I Are there any finishing treatment involved?
I don' t apply anything.
I You made a rainbow colored thousand
paper cranes, with a line threading through. ls
there anything devised or difficulties to
produce such a threading?
When connecting cranes folded with 4 mm
square paper, I thread about 20 cranes using a
sewing thread and needle for silk. ln the case
of crane folded with 3 mm square paper, I use
the needle point of the silk sewing needle to
punch through the back (center) of the crane
and then thread through the sewíng line. I
posted a video demonstrating the threading:
I https://www.face book.com/1 00006 1 63834657
/vid eos/vb. 1 00006 1 63834657 / 1 6327 82206937
225/?type=3
I Do you like origami models other than
micro-folded cranes, or anything you would
like to challenges to micro-fold?
I don' t know much about Origami other than
origami cranes, but I truly embrace what lwas
told: "if you can fold cranes, then you can fold
anything." So, I will try fold micro origami by
using digrams from a book.
I Have you had other hobbies or
entertainments in the past?
I like watching sports, historical exploration,
museums and art museum tours as well as
collecting unusual objects.
I What is the most ¡mportant thing that have
in mind when folding the tiny thousand paper
cra nes?
I think that it is important to fold each crane
carefully. And lthink it is about giving
continuity to it. However, if you try too hard,
there will be moments when it will be
impossible to continue. So, it is important that
you do not try too hard.
I What did you find particularly enjoyable in
doing the tiny thousand paper cranes? And
what was hard?
I usually do not think much about the goal and
take my time to fold. lt is difficult when I have
to work hard in case there is a due date.
I However, it is fulfilling when the audience is
pleased with the miniature folding cranes and
thousand origamicránes that I make.
I What will you want to challenge in the
future?
I would like to be able to fold micro folded
crane more beautifully. Also, I would like to
make various things tiny, including origami.
I Summary I happy to see parents and children become
During the interview, I watched closely the
folding of one crane that was completed
without hesitation, between the fingers. The
Cranec that disappears in his fingers are
shaped crisply. Please check the video:
(https://youtu.be/lNQ5Qkd4tNw). lt was
indeed interesting to know about the thinning
of the paper by shaving off the paper for the
Senbazuru for the crane made from two
overlapping squares, but it does sound like a
tremendous amount of hard work. lt is
unbelievable to think that the cranes are
connected through just a few fibers without
breaking apart. Alio,it was interesting that his
foldingls ilone while watching TV. Although
Mitsuñ¡ro Ema said that it is not a feeling of
immersion, there are some research indicating
that better concentration is possible when
there are some environmental sounds.
Anyway, I find it important to create your own
self, wouldn' tyou agree?
(Editorial note: Photographs on page 22)a
(Page 36) Orisuzi( "Fold Creases" ) from Seiji Nishikawa, giving continuity to his
Benefits of Origami
By Kazuyo Matsumoto
playing with origamisince I was a child. And
I like
even as an adult, I have many opportunities to
play with children, so I always keep origami that I
can use for something.
The encounter with creators who teach
wonderful models is a pleasure. Once, I showed
the Yoda, which I folded in a class with Fumiaki
Kawahata himself, to a boy who was originally
not interested in the origami.
"l want to fold this model!"
"Well,let' s start with something simpler."
"Nol I want to fold the Yoda!"
"All right. So, let' s fold it together."
I can'- t forget his face of amazement, after a
fulfilling reiult after 2 hours of folding, and his
mothers surprise and Praise.
I oncetold a friend, who is a school teacher
dealing with a difficult student, that maybe
origamimight help. After some time, I received a
phóto from her, with a note "l received a
graduation present from a student" . lt was the
Éabbit by (eigo Matsuda. So, I send back a
picture oi the Rabbit folded by Keigo M.atsuda
himself, and she was impressed. The difficult
student was progressing well at going to school.
I want to fold itl When the parents see the
concentration of the child, you can hear them
saying "l wish they could study with as.similar
foius', "l can' t believe their focus as they are
usually very restlessness" and so on. I also feel
immersed and having fun together.
I like the origami as the square sheet of paper
transforms into a figure step by step. However, at
times it is OK to teár it. Or to glue, cut, crumple,
unfold. And make noises: bang! Observe the
shadows and reflections of the crease lines. A
feeling like: "Really amazing!" , "l want to try it]" ,
"Wow-, I d¡d it!" Or also: "l can' t make it." , "Let
me see, lthink lcan help" , "Here,that is what
you have to do" . Feel pleased and say: "That' s
great" . Or frustrated and give-up. But later, try it
ónce again. Fold while talking or thinking about
sometñing completely unrelated. Folding to
keep the hánds occupied. I feel very happy when
a person' s eyes shimmer when I give them a
model that I folded thinking about them.
(Page 37) Shirokujichu ( "OrigamiAround
the Clock" )
Two Thousand
By Jun Maekawa, Japan Origami Academic
Sóciety (JOAS), board chair
I will be taking over the "Origami Zanmai" section
articles.And since4( E ) comesafter3 ( (the
- )
Japanese title of Nishikawa-san' s section,
Zanmai, meaning ambition, is wr¡tten = Bt ), I
thoughtofvarioustitleswitha( E ):E É A É
( "Sh-ikuhakku" , the four and eight kinds of
suffering,fromBuddhism),8 E E tr
( "Shimeñsoka" , Surrounded by enemies on all
four sides), EÉ E9É ( "Shikakushimen" , square,
formal). At the end, I decide d for "tfr!¡ff El^ ffi +"
(Origami "shirokujichu" , or Origamiaround the
clock, or literally 4 times 6, or 24 hours).
This time, lwould like about things that
accumulate unnoticed with time. They are: age,
gray hair, weight, LDL cholesterol, etc. And also,
of course origami PaPer.
For example, each time you part¡cipate at
convention, you receive the Toyo's 60 color pack
with 220 sheets of origami paper. lt is a necessity
for a convention, but it is rare to use it all. ln my
case, I had more than 20 packs in my closet,
mostly unused ones. That alone would account
to about 4,000 sheets. Further examination
revealed that I had a total of 15 sheets of 15 to 18
cm paper, 2,000 sheets of 24 cm or more, 3,000
sheets of 7.5 cm or smaller, 2,000 sheets of A4's
and kraft paper. I had roughly over 20,000 sheets
of origamipaper.
tt is rilnd blowing if lthink that they are all
waiting to be folded. ln order to fold it all when
alive, f calculated that I had to use about two
pieces a day. Calculating it, I have to honestly
confess that I got excited to realize that "lt's not
totally impossible!" However, I realize that
origami paper, like daisies in a vacant land, just
simply grows uncontrollably. So, I realize that my
original calculation is somewhat unrealistic.
The infinite-loop: "When we have things in
abundance, we can' t come up with forms to
consume properly" -+ "Goin9 to a specialty ship,
will buy much more than necessary" is an
empirical rule that proves that negligence is our
biggest enemy.
Dumbfounded by the 20,000 sheets of paper, I
decided to actively consume them, using at
events, distributing to friends. I heard of a rule
that says that "when throwing away or using
something, it is necessary to be done with some
valid reason" . But, if I distribute them, that I will
also help spread the joy of origami.
(Page 39) Paper Folders on File
File#72 - Kade Chan
lnterviewed by Marcio Noguchi
Kade Chan - Born in 1993,lives in Hong Kong.
Member of the Hong Kong Origami Association.
He is the creator of "Fiery Dragon ver. 2" (diagram
published on issue 152 of the Tanteidan
Magazine), among other masterpieces.
iWhen and how did you get started with
Origami?
(Dl started folding paper since 2005 when I was
12. Remember that I found a diagram of the
Bahamut Dragon which is designed by Satoshi
Kamiya. At that time I was wondering how can a
piece of uncut paper can transform to such a
complex modeljust by folding, lt amazed me a
lot. I posted the ñnished model picture of the
Bahamut (which was folded by myselfl online to
the social media platforms, some members of the
Hong Kong Origami Society saw that, and then
invite me to join the society, it's the start of my
origamilife.
OWhat are your objectives in folding origami.
What do you have in mind?
OOrigami to me is a trad¡tional Japanese art that
creat¡ng unlimited possibility in a limited space,
by folding we can transform 2D to 3D, and
express our thinking to the real life.
lCan you describe your history of your act¡vit¡es
with Origami in Hong Kong?
OWhen lwas 12 after joining the Hong Kong
Origami Society, I started teaching origamito the
public, the first workshop was in the Hong Kong
Scíence Museum, teaching some origami
dinosaurs. Until now, I have organized more than
500 workshops in the past 12 years. Most of the
workshops are free to the public, my aim is to
promote origami as an art form, encouraging
original designs, not just a kid's activity.
OHow do you see Origami developing in the
futu re?
OOrigami is the future trend of every single
industry, not only in art form but in practical form.
One of the strong point of origami is that you can
transform big object to small object, reducing the
I size by folding techniques. This technique is
valuable, suitable for the industries such as
medical, product design, space exploration and
fashion. One of the examples is that by using the
folding techniques, we can make the medical
equipment size smaller and put inside our body,
reducing the size of the wound created.
OWhat are your thoughts of your role for the
future of Origami.
(DAs a product designer, I would like to try my
best to use the techniques of origami into to the
product design field. Aim to create a new kind of
experience for the customers that their life will
be more convenient when all products can be
collapsed and expanded again.
OHow do you posit¡on yourself with regards to
your responsibilities (if any) in international
origami, and future activities?
OAfter joining the OAC (Origami Authors and
Creators) as a regular member, lunderstand
copyrights protection is very important to the
origami artists, most of the origami artists don't
know how to protect their intellectual properties
when someone using their original origami
design in commercial way but without putt¡ng
any credits on it. ln the future I position myself as
a consultant of origami copyrights infringement,
trying my best to help the artists in needed.
OOutside of Origami, do you have any hobbies?
OApart from origami, l'm also a Muaythai (Thai
boxing) player. lwas planning to get my
coaching license, however, I ended up gett¡ng a
driver license ¡nstead. Though, unfortunately
there aren' t many parking places in Hong Kong,
so it is difficult for a young like me to own a car.
OWhat is the relation between Muaythai (Thai
boxing)and Origami?
(Dl started practicing Muaythai since 2015 when I
was graduated from university. My friend Jacky
Chan from Hong Kong Origami Society
introduced me his gym and the Muaythai
courses, I realized that these years I spent all the
time on origami, totally forgot physical growth is
very important too, my body become very
skinny, so I want to practice a sport which can
help to change my body situat¡on. Origami and
Muaythai are similar,. they are also requiring full
concentrat¡on, or you will be defeated.
Photos:
Photo (Left)- Godzilla
Photo (Center)- Fiery Dragon
Photo (Right)- Alien

Call for the 12th JOAS origami design
contest
I JOAS Special Award:Theme="Wind"
I JOAS Chinese Zodiac Award: "Boar"
I Origami House Award: Free theme
.One prize applicable to one person .Composite
and multiple pieces allowed . ln principle cut not
allowed ' Either flat or three-dimensional models
will be accepted
'Limited to unpublished creative models. Please
see the website for detailed information on
application conditions:
http://origa mi.g r.j p/Convention/24thlindex.html
#compet¡tion
O Registration form: Download from Origami
Tanteidan home page "Convention Page"
I Deadline for submission: Must arrive by Friday,
)uly 27,2018.
I Judging and award ceremony: lt will be held
during the "Origami Tenteidan Convention"
organized by the Japan Origami Academic
Society UOAS), Tokyo in August 2018.
I Cuide to Registration for ICOA
Exhibition 2018
We are looking for models for the 4th ICOA
exhibition to take place this year. The
lnternational Collegiate Origami Association
(ICOA) is an association of the japan Origami
Academic Society (JOAS), that aims giving
cont¡nuity the origami group activities of
universities and looking to grow globally. Last
year, which was the 3rd event, we held
exhibitions with great visibility in conjunction
with the conventions at Nagoya, Osaka and Saga,
after the start in Tokyo in August. At each
convention venue we held a contest based on
popularity vote of the exhibition visitors. We
have collected more than 500 votes at three
venues, in Tokyo, Nagoya and Osaka.
[Overview of 2018 exhibition]
This year we are also planning a tour of the
exhibition in Shizuoka, Kansai and Kyushu, after
the start with the 4th Exhibirion in Tokyo.
The 4th Tokyo Exhibition
[Location] Toyo University (concurrently with the
Origami Tanteidan Convention)
[Dates] 8/10 (Friday) - August 12 (Sunday)
* Admission free . Reqistration for the convention
not required
ln addition to contests based on the popularity
vote, we will establish this year new individual
prizes by origami masters. A different perspective
from popularity voting, we would like to make it
a great opportunity to show the diverse origami
models by students. Apart from the traveling
exhibition, some ICOA models will be displayed
this summer at an exhibition to be held this
summer in Shoo city in Okayama Prefecture.
Some other exhibitions will be planned, as soon
as they are confirmed.
IRegistration]
We are looking for two categories of creative
models and study models. The creation models
are models designed by the applicant, while the
study models are models created by another
creator and folded based on a diagram in a book
or crease pattern. There are no limits of models
that can be submitted, including also those that
had been displayed in the past.
Those interested in exhibiting, please send the
following information to the following address
bef ore July 21 (Saturday):
mai lto:icoa@origami.grj p
A. Creative models:
1. Creator's name for each models and contact
details.
2. School name and grade (as of FY2018).
3. Title of the model.
4.Size of the model (Advanced notification is
required for items exceeding 30 cm x 30 cm x
30 cm).
5. Method of delivery (hand delivery, shipping via
post-off ce). Please include a picture of the model
showing how it should look like.
6. Whether you wish your model to be returned
back.
/ Modular /
7. Style (Single Sheet/Square/No cuts
Composites and number of sheets used and
paper size, shape, etc.)
B. Model description (if available, max of 50
characters)
B. Study models:
ln addition to the items of A:
9. Creator' s name and source
10. Photographs for judging (a picture that
allows the complete model to be seen. File
naming convention: "<School Name>_ <lD>")
x The photos will be u§ed for judging, only for the
study models.
We will send you detailed application
requirements and "application sheet" separately
to exhibition applicant and ICOA members.
Please send inquiries using the above contact
e-mailaddress.
[Awards]
A. Popularity contest
Voting by exhibition visitors will take place at
four venues: Tokyo, Shizuoka, Kansai and Saga.
The one with the largest number of total number
of votes at the four venues will be declared the
winner. For each venue one visitor will be
allowed to cast one vote, and general visitors also
will be allowed to vote. The creator of the most
popular model (with most of the votes) will
receive a prize of 50,000 Yen presented by
Origami House. Because votes are collected at
each tour site, only the models donated to the
travelling collection will be elligible.
B.lndividualAwards
Origami masters will select outstanding models
individually and recognize them. A prize of
30,000 Yen will be awarded to the creator of the
selected model by each of the masters.lndividual
awards will be selected and awarded at the
Tokyo Exhibition. Models that will be returned to
the creators will also be eligible. The individual
awards by the following three masters are
available at the present time. The following are
the selection criteria of each master, so please
submit your creation!
(Seiji Nishikawa Award)
Selection Criteria: Systematic (creases, whether
stra¡ght or curved) establishing a "mitate"
representational shaping - that search fresh
expressions. The selection my result in "No
winner" . Honorable mention possible (10,000
yen).
(Takashi Hojyo Awardl
Selection Criteria: Models will be evaluated with
emphasis on design and finishing techniques of
finished form. Human figures will be the main
targets for selection.
(Fumiaki Kawahata Award)
Selection Criteria: Models will be evaluated with
an emphasis on innovat¡ve ideas on
representation and expression. The style of the
model does not matter. lf it is expressive and
challenging, existing techniques (like color
changes)are also OK.
* New individual awards may be offered in the
future. We will inform you in the new issues, as
soon as they are confirmed.
[Callfor new members]
ICOA is recruiting new students.
i El¡gibility: Current college students
(grad/undergrad students .technical school
students). You can choose to join as part of a
local origami group or individually. Students who
do not belong to a local group as well as alumni
10
can also join. lf you are interested please contact
us at the address below.
mailto:icoa@origa mi.g rjp
Call for diagrams for the 24th Origami
Tanteidan convent¡on collection
O We are asking for your contribution for
diagrams to become available along the summer
convention collection book. We look forward the
diagrams for your models.
O Eligibility: None. Amateur or professíonal, no
age limits. lt is not necessary to be a subscriber of
the Tanteidan magazine or be a member of the
Japan Origami Academic Society (JOAS).
Regardless of the number of published model,
we will present one complimentary "24lh
Tanteidan Origami convention book" (pending
the condition of minimum number of pages
contributed). ,
O Conditions. Original or variations, limited to
unpublished diagrams. (ln the case of variations,
please specify also the name of the original
creator, so, permission is also required). The
submission should be done based on digital
data.
O lnstructions to submit diagrams: check the
OrigamiTanteidan website " Convention Page" .
http://o ri ga m i.g rj p/Convention/24thl
I Deadline for submission: June 30, 2018
(Saturday)
a 24th Origami Science, Mathematics,
Education and Research Meeting
This time, we will connect the origami local area
group Kyushu Tomonokai remotely over the
lnternet, and a presentation from Kyushu will
also be planned. There are no restrictions to
participate, so please join us. lt is a unique
opportunity to learn about the scientific research
of origami prior to the 7th Origami Science
Mathematics and Education (OSME) international
conference (September 5th-7th) at Oxford. We
are currently looking for presenters.
C Date and time: Saturday, June 16 (Sat) 10:
00-1 7: 00
Venue: JOAS Hall (1-33-8 Hakusan, Bunkyo
C
ward, Tokyo)
C Presenters wanted (until Sunday, June 3rd)
Please send the following detals by e-mail to
webman@origami.grjp
Subject of the e-mail: "Request to present at the
24th the Origami Research Meeting "
Mail Body: Name, contact information,
presentation t¡tle, presentation summary (up to
200 letters), planned presentation time (30
minutes or less)
O please check our website for details.
http://www.origami.g rjplOSME/1 806.html
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