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Eventually, he designed an origami model to produce both crane and rider from a single, uncut square. In 2013, Greg contacted Ben Luce, the graphic artist who had designed the original illustration, in Los Angeles. A mere 26 years later, Greg met Ben and finally had the chance to thank the man whose artistic efforts inspired him to embark on so many hours of joyful paper folding. Imagine how you too can develop your own lore and legends around your favorite origami creations.

      Gifts from Our Mentors

      What would we be without the origami designers who have gone before us? Just as Michael was transformed by seeing the color photos of remarkable origami in the 1970 Readers Digest article about Master Yoshizawa and others, the person discovering origami art today is about to embark upon a journey of discovery enhanced by exposure to the works of previous designers, artists, diagrammers, and hand papermakers. While many folders draw inspiration from works by others, one’s own work is enough to propel some artists into a frenzy of innovative folding. The topic of one-upsmanship was beautifully illustrated in Vanessa Gould’s Peabody-Award-winning origami documentary, Between the Folds, in the chapter titled, “The Bug Wars.” While she addressed one aspect of technical folding, the same arguments work for spurring one another on artistically as well.

      We owe a great debt of gratitude to Mr. & Mrs. Akira Yoshizawa, Samuel & Jean Randlett, Neal Elias, Patricia Crawford, Robert Harbin, Florence Temko, Eric Joisel, Vincente Palacios and many other origami designers and authors who, through their inspiring publications, paved the way for us and new generations of origami designers. We have immense gratitude, love and affection for Elaine and Sidney Koretsky, founders of Carriage House Paper in Brookline, Massachusetts, who helped us and our students explore the world of hand paper making, from gaining experience with the paper-making plants that they cultivated in their yard, to fiber processing techniques and archival coloring with pigment systems. Their accomplished artist daughter, Donna, now continues their important legacy through Carriage House Paper in Brooklyn, New York.

      Our effectiveness as teachers is a credit to the work of Lillian Oppenheimer, and her eclectic collection of designers, presenters and volunteers at origami conventions. As an example, Kyoko and Shigeo Kondo have not only been long-time supporters of OrigamiUSA, they also personally mentor younger folding artists, and have done so ever since we can remember. We have lovingly bestowed upon Kyoko the affectionate moniker “Chairman of the Board” because she constantly urges us to explore new projects, publications and ways to make our living by doing what we love to do. The best way we can thank these selfless mentors is to help grow a new crop of passionate, innovative and talented artists and teachers to willingly share their enthusiasm for artful paper folding with others, well into the future.

      Folding Socially

      MEET AND FOLD FOR FUN!

      If you enjoy playing cards or dancing, you might also like the interplay of folding origami with others. We usually fold with others gathered around a large table when we are preparing special displays or commercial art installations. If there is latitude in the design, such as when composing origami blossoms, stems and leaves, it is fun to gather opinions about what sizes, colors or positions look best. Often somebody will discover a shortcut or tip to make the folding more precise or efficient. We learn about new tools, papers and materials whenever we gather with folding friends. When we take a break from the task at hand, we show each other new origami designs that we have developed, modified or learned.

      If you think you might enjoy the company of other origami enthusiasts, visit the website of OrigamiUSA at origamiusa.org to find listings of folding groups in your area.

      Continent or Island?

      It used to be common for origami artists to work in isolation. There were few publications and organizations to support a serious paper folder. It can also be more fun to solve a problem on your own, particularly when it takes intense thought over long periods of time. Designing with little outside influence certainly can produce fresh results. Folders working in isolation have become famous when examples of their innovative work suddenly burst upon the scene. Shocking new techniques advanced by isolated artist certainly make a refreshing splash in the art world.

      Today’s ubiquitous Internet has made artistic isolation more difficult. New ideas and techniques may instantly pollinate the minds of thousands of contemporary artists. Those who are receptive absorb these lessons and then apply their own spin, often resulting in clever variations.

      This change has its pros and cons. At certain points in your career you may prefer isolation, perhaps during the birth of a breakthrough, or when you simply need to find your own voice. The connected crowd produces fairly steady and incremental advancement, and you may draw strength from the inspiration of others’ work. Luckily, the choice is yours.

      Folders of all ages enjoy making origami at this Peabody Essex Museum workshop.

      Folding for the World

      In any new art, the “pioneers” invariably set the tone for those who follow. Because this “folding as art” is so new, many of the greatest origami designers of all time are alive today, and their signature works may be important from a historical perspective. Realizing the magnitude of this impact, one designer friend shares only one new design with the folding world each year, and the anticipation within the community of fans is palpable. Other designers seem to want to publish anything they can think of, and then they let the origami community play the part of the critical filter, as they weigh in with praise or critique. As society changes, our collective tastes in art also change, and it is instructive to look back. Good design is timeless, and while an origami creation is no less a product of the time in which it was developed, the artifacts of our civilization are snapshots that teach us about the human mind and the condition of society in that place, and at that instant.

      Just Right

      “I don’t know anything about art, but I know what I like,” is an oft-heard comment in art exhibitions. Since the public is essentially without knowledge about origami art, the first time your work is shown in public, it is sure to garner a wide range of reaction. The best strategy is to show the work that you are most comfortable showing, and that process of curating comes down to a simple question: “Is it just right?” Often, you won’t be able to put your finger on exactly what is troubling you about a piece of folded art, but you know that there is something that hasn’t yet gelled. Don’t show it yet. Let it simmer in your mind. Revisit the subject with a clear head. Try a different type of paper, a different size or fold it with some different tools or techniques. This is the fun of exploring origami art as a lifelong passion!

      It’s All About the Art

      GROWTH THROUGH SHARING & CRITIQUE

      If you want to fold more artfully, “Get thee to an art museum!” It will help immensely to expose yourself to a wide variety of art. Study it, and enjoy getting to know other artists who love to visit museums and discuss the works. Line, form, relationship, color, light — all of the countless aspects of fine art are considered by artists and revealed in the thousands of works of art gracing the walls of our finest public museums. If your folding attempts are ever to be considered by others as art, you should have certainly first become familiar with the dialogue of art history. Art from ancient civilizations was studied, copied and regurgitated by the artists of subsequent generations in a process that continues to this day, and will repeat throughout time. You are now part of that splendid tradition of building on the achievements of those artists who have said something important about being human. Perhaps you have something new to add about beauty, love or struggle. What do you want to say to the future artists who will someday gaze upon your masterwork? Michael sums it up by saying, “I believe that art is the unique contribution that any individual can give to their chosen craft. The greatest value of art is realized by the artist, during the journey. The resulting product, or artifact, is another matter, entirely.” That dialogue about origami art — what is, and what isn’t — will surely go on forever.

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