FAQ part deux

More than one person has asked if I had ever gotten a papercut from folding. The people who ask this, I can only assume, have never folded paper before. No, I have never received a papercut from origami, and I don’t know anyone who has. I am reminded of this question which arose at the exhibition in Long Island, by an injury sustained today at work. I get papercuts all the time where I work at the library, I have three such cuts on my fingers right now: one above each thumbnail and one on the side of my left pinky finger. And no, although I work at the library, they weren’t from handling books. I work in acquisitions and the cuts came from opening boxes the books came in. Cardboard boxes have little pity for sensitive fingers.

I’ve been asked also if repetitive folding causes carpal tunnel syndrome. I suppose it could aggravate this condition if done improperly, but I find the stresses occur mostly in the fingers, not in the wrist. I get sore wrists the same way most office workers do, at the keyboard. I guess people like to imagine that the pursuit of art may be fraught with risk of physical harm – like papercuts and carpal tunnel syndrome. Origami is admittedly a rather tame art, one of the few that can be practiced on a bus ride or in the waiting room at a doctor’s office (ventriloquism and interpretive dance are others. Bronzecasting, stonecarving and pottery are not recommended). It requires little equipment beyond the medium itself (generally speaking, paper) and the digital appendages most were born with. And the origami muse seldom requires a blood offering from her supplicant.

These are occasionally asked questions (OAQ), back to the FAQ.

Q: Do you use special paper?

A: Yes and No. I use “elephant hide” – what is marketed in the U.S. as Wyndstone Marble – for almost all of my masks and many of my tessellations. I’ve been using it for maybe three years now and I’ve gotten rather comfortable with it. It has certain properties that I like: it is strong, flexible, creases sharply, responds well to wet-folding and it is pH-neutral. It’s not “special paper” though, at least not especially made for folding masks. It’s actually produced as endpaper and flyleaf stock for book manufacturers and for use in printing certificates and such. It just happens to work well for folding too. Any paper with similar characteristics will do. I’ve used banner paper and brown postal wrap which come in rolls and can be cut to any size. Wyndstone marble is becoming increasingly difficult to find in the States, however, and any alternative would be desirable. But when many people ask about “special paper”, they are looking at all the lines in the paper that I’m using making a tight triangular grid and they really want to know, is there special paper with those grids already in it. No, there isn’t. Those are creases and you gotta fold ‘em yourself. Period.

Now you don’t have to fold tessellations from paper that has been prefolded with a grid, but for most tessellations, including the sort that I like to do, it sure makes things easier. It takes some time to fold a grid, but the investment is worth it later on. There are no satisfactory means I know of for making the grid mechanically: scoring damages the paper where it needs to be strong, impressing or embossing lines would only allow the paper to “hinge” in one direction, whereas a creased line can be reverse folded to make it neutral. But you don’t need a mechanical means anyway. Folding a grid is not all that bad. It takes time, sure. But it isn’t difficult and once you get the hang of it, it can be a restful, meditative activity. And it’s a good way to get to know your paper.

Q: You must be very patient

A: Again, that’s not a question, it’s an assumption.

It’s like many activities that people do for enjoyment: crosswords, jigsaw puzzles, knitting, and such. To someone who doesn’t share your interest, these things may seem tedious and boring. But if it’s something you enjoy, you do it. Patience is only necessary if you aren’t having fun. And if you’re not having fun, why are you doing it in the first place?

Recent activities

   The time has flown by. I have been folding, but I have been delinquent in posting the results of my paper manipulations. I still have trouble showing work that is unfinished or not finished to my satisfaction. I’ve always been like that, which is why I worked in the dark, so to speak, for so long.

   I have been struggling with grids on a horizontal alignment (which may not make sense to most people). Compare the grid underlying this recent mask:   

pharaoh 

   with this older design:

mask

   Perhaps you can see that the one set of lines in the latter grid is parallel to the vertical axis of the face, and in the former, a set is perpendicular to the vertical. The grid is merely rotated 30 degrees, but the new orientation has many unexpected consequences on the way the face is formed. I have had to rethink almost all of the techniques for face shaping that I had developed on a vertical grid when working on a horizontal. And I’ve worn out a lot of paper trying, with few satisfactory results. But I think the challenge has kept me from getting stale.

   That first mask, “Pharaoh”, by the way, will hopefully be arriving in Croatia soon, for an origami exhibition at the Krapina Gallery. They are showing origami this year as part of their annual Haiku Festival.

   Many more pieces are currently on display closer to home (closer to my home anyway) at the county courthouse in beautiful downtown Lawrence, Kansas. Two walls in the treasurers office have been dedicated to the display of artwork by a different local artist every month. This month (May) is mine.

    Here’s one wall:

wall of art 1

   and here’s the other:

wall of art 2

   More images of the individual pieces can be seen as a set on flickr.

 

Still here?

   My humble blog has just been linked by PolymerClayNotes - as one might expect, a site specializing in things polymer clayish, but also highlighting arts of other media. You should go there right now and have a look around. You are bound to find something to make you want to get up and create something. Thank you, Susan, for sending a little attention my way.

   The attention serves also to remind me that I haven’t posted here in a while, an embarassingly long while. My apologies for that. I have been folding, I assure you. I have in fact been experimenting with some new techniques that have been slow to bear fruit, but nonetheless will not let me go. I can be frustratingly single-minded that way. It’s entirely possibly that when I’ve finally finished something, it will succeed only in eliciting an unequivocal “meh…” but until I have a solution of some kind, good or bad, I can’t let it go.

But the purpose of this blog was to chronicle my work, and I should be doing that. So I promise to post soon about what I’ve been doing, and you can judge for yourself. If nothing else, my struggles may illuminate someone else’s. Possibly give some ideas, who knows. I hope so.

Busy, busy, busy

Sending my children out into the great big world out there.

 This world-weary fellow is currently residing in Israel, soon to be a part of an international origami exhibition at the Tikotin Museum in Haifa, due to begin this summer. Some information about the Museum of Japanese Art in Israel can be found here. Saadya Sternberg, the acting curator for the show, assures me that origamists of renown from all over the world will be participating, so if you should find yourself Haifa this summer, why not drop on by!

   The piece is similar to earlier designs, more or less a cross between Moses and a mask I had simply named “Another Bearded Fellow”, apparently whilst in a funk of creative malaise. This new mask is distinguished by a coating of shellac, which is a treatment I’ve been experimenting with for a while, but only now have I started to get it right. It gives the piece a look of old varnished wood, and stiffens the paper and protects it from the elements as well.

Gemini mask This model may be easily recognized as a variation of the Triplet, with one face less. The original Triplet was inspired by a suggestion from Eric Gjerde and a three-faced sculpture he had seen. The two-faced variation, Gemini, was suggested by my better half, who has an aversion to odd numbers (the name, however, was my idea, so don’t blame her for that). It would seem I am highly suggestible. I should consider myself lucky that she didn’t suggest four faces to keep the number even (Mount Rushmore in paper? hmmmm….).

      This mask is in Massachusetts right now, being prepared for inclusion in the Origami Now! show at the Peabody Essex Museum in Salem, beginning this summer. Take a look at their press release and you’ll see that lots of really wonderful artists will be represented there. Go check this one out, it should be a great show. I would go myself, but I have still more irons in the fire.

    In addition to this year’s Origami USA convention in New York, which I hope against hope to be able to attend – so many good friends to see there – I’ll be helping out with the local Islamic Society of Lawrence’s youth camp for a day, elaborating on the influence of traditional Islamic arts in the seemingly disparate art of origami, re: tessellations. But mostly I’ll be showing little ones how to fold paper and have fun.

    And I’ve been invited to participate in the annual Origami Festival at Tansu in Houston, which looks to be a great time for all, with demonstrations, workshops and all that. It is also a charitable event for the Sunshine Kids Foundation, a Houston based organization providing positive activities for children undergoing cancer treatment. The kids will be at the festival and they will be folding. Should be a blast!

mask in progress – Mephistopheles

mephistopheles

This is a mask that I’m working on currently. I usually don’t post works in progress, but I thought I would record this one for posterity, as I think there are some interesting and new things going on in it’s developement, and the way I work, they may be lost forever in the final product. So this stage has been recorded for posterity.

I was otiginally trying to do something quite different, another bearded gentlemen – Zeus – but as I worked the mouth and beard, a smile appeared (in the mask, that is). My Zeus was supposed to be grimacing menacingly, but this fellow was smiling, and I could do nothing to wipe that self-satisfied smirk from his face; so I went with it.

The rest of the mask took shape of it’s own volition and the mighty Zeus faded away as the impish Pan took his place. Or if you prefer – Mephistopheles.

Swirly tessellation

swirl tess

This “swirly” tessellation was created a while back as an adaptation of Tomoko Fuse’s swirly square tessellation (seen here folded by Melisande) applied to a hexagon and triangle tessellation pattern

swirl tutorial 1

Begin with a regular hexagonal twist, but use pleats three creases wide - resist the urge to make a three crease wide hexagon, keep the little hexagon sitting on top – twist that little hexagon back in the direction opposite to the way the big pleats want to go, and then begin to collapse the whole thing into a sort of star shape. Notice in the second picture where the twisting begins to reverse direction at the base of the forming star.

swirl tutorial 2

When the star has collapsed, begin to twist the hexagon on top back again to form the swirls. This is a pretty messy move, but I don’t know any better way to do it. Start with one pleat, fold it back, move to the next exposed pleat, fold it back, and work your way around the hexagon until you have enough slack to twist it and lay it flat (the pleats themselves will not lay flat).

swirl tutorial 3

The tessellation contiues by “splitting”or bifurcating the pleats that leave the hex swirl to make triangular twists all around it. Remember, the pleats are three creases wide, so they should be split into two pleats that are also three creases wide. Notice where the splits occur. The triangle twists are done similarly to the swirled hexagonal twists; the twists are not collapsed as simple triangles, but as triangular stars with a smaller triangle on top. The little triangle on top is then twisted back, just as the hexagons were, to make the swirls.

Each pleat around the central hexagon is split with a triangle swirl, and then new hexagon swirls can be formed where the new pleats intersect to make a complete tessellation pattern.

The original images for this tutorial can be seen here. Pictures on flickr can be viewed larger than they are presented here.

Tutorial of “flagstone” tessellation basics

flagstone basics -1   It begins with an open-backed hex-twist (if you don’t know how to make an open-backed hex twist… well…. learn how) – bifurcate of the pleats on the back to produce a triangle twist as close to the hex twist as you can
flagstone basics -2 begin to split the next pleat (it starts to get tricky, and the paper will not lay flat, it will even try to resist your efforts at this point) to begin to form another open-backed hex twist on the other side
flagstone basics -3continue the process going from on side of the paper to the other, splitting pleats to make triangle twists and adding pleats to make hex twists
flagstone basics -4and there ya go