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An Inspirational “LaFossophy” of Origami

OBSERVATIONS FROM THE STUDIO

BY ORIGAMIDO STUDIO COFOUNDER RICHARD L. ALEXANDER

One can’t escape developing a philosophy around any subject studied passionately for a long time. I have begun to use, tongue-in-cheek, the term “LaFossophy,” because I was at a loss for a word to adequately summarize Michael’s wisdom that permeates the Origamido Studio. While the majority of our students know us from our publications, for decades we have also been teaching all levels of origami in person. Often those sessions prompt discussions about our experiences that have influenced our thinking about artful folding. If you have had the pleasure of attending one of Michael’s sessions, perhaps at an origami convention, you’ll know what I mean: Michael injects his “LaFossophy” between each instruction as he waits for folders to catch up!

The following are Michael’s most useful approaches and productive methods. I have heard him expounding on these topics since I met him in 1988, and I have seen the proof often enough to thoroughly believe in Michael’s ideas. They will inspire you.

Preparing Your Heart

Mental preparation for any activity is often the key to a successful and satisfying performance. The right mental attitude allows you to focus on the task at hand. Master Yoshizawa folded with a peaceful spirit, usually composing his thoughts while centering his physical body in a comfortable position for a moment of meditation or prayer. The physical act of closing your eyes, and bringing the palms of your hands together in a way that resembles the posture of prayer is an act of intentional focus. Proper breathing is also important to any performer, and long, deep, conscious breathing pumps oxygen into the brain.

Dancing with the Paper

The process of folding and then turning the paper to reposition it for comfort before the next fold is akin to a dance, and even more so when the paper is large and the maneuvers are performed in the air, rather than against a table surface. The fluidity of motion, and the changing relationships between the paper, the person and the planet is enjoyable for the folder, and entertaining for spectators.

Poems for the Fingers

The simpler, elegant designs in this book can be easily memorized and then performed for pure joy, similar to that from reciting the work of a favorite poet. It is fun to practice the motions, savoring the rhythm while performing such an “origami poem.” When Michael “recites” such a piece in front of an audience, they fully understand the joy of the entire creative process.

Giving and Receiving

One need not spend a lot of money on meaningful gifts. Repaying the kindness of a thoughtful gift can be as easy as folding your favorite model. Whenever you receive a gift wrapped with beautiful paper, carefully save the paper. How delighted your friend will be when you cut a square, fold, and present your origami gift of thanks. What better gift can there be than one folded by your own hands from that same, special paper that your friend selected and will be sure to recognize?



Send a personalized “thank you” by folding a model for the gift-giver from the paper used to wrap the original gift.

Finding Joy in Transformation

Origami is a metamorphic art: A sheet of paper is transformed by folding only; nothing is added or removed. This aspect of change is captivating when one contemplates the possibilities and the magnitude of the change, as well as the chosen process. Some models are “action models,” which convert from one form to another even after the folding is finished. Shape transformation is captivating, and it is useful when you want to introduce yourself to strangers in a memorable way.


LaFosse’s inspired “Goldfish.” “It just appeared in my hands.” The paper was a gift from Akira Yoshizawa.

Awakening the Spirit

The final step is to open the eyes! Those of us who fold origami animals know how magical it can be to create an individual with a presence of its own. This makes origami so empowering to young children. They’re hooked as soon as you show them how to fold a square into a cute little fox in just five steps! Any origami creature can become their leading character in a new story or tall tale. The models may be pasted in rows to grace the pages of a customized scrapbook or securely mounted as a mobile. The artistic expression and emotions that you fold into your origami creations are unlimited. They may evoke an endearing and cuddly friend or even the most wicked of demons. Master Yoshizawa is said to have folded a mask of a Japanese No Theater character, Hannya, who was so diabolical in appearance that Yoshizawa “burst into uncontrollable tears — and was immediately hospitalized by extreme nervous and mental exhaustion,” according to biographer, Leland Stowe (“The Paper Magic Of Origami,” Hawai‘i Beacon magazine, July, 1970). Perhaps some spirits should remain asleep!

Being Open to Inspiration

“I don’t feel that I create these. I feel that God guides me. I’m even surprised at what comes out.” — Akira Yoshizawa, according to biographer, Leland Stowe, 1970.

Unexplained, inspired art can simply happen. We recall the day Michael was fumbling with an orange square of textured, Leathack paper that Yoshizawa had given to him. Michael was supposed to be working on another project that day, and when I came home from work, he met me standing at the top of the staircase, beaming with joy, with a stunning origami goldfish cradled in the palms of this hands. “I have no idea how to repeat it. I don’t even remember doing it. It just appeared in my hands!” he said. It wasn’t until several years later that he struggled to rediscover the folding process so he could diagram it for Advanced Origami (Tuttle Publishing).

Making Legendary Friends

Many designs have developed personas that become established into pop lore. The traditional Japanese origami crane is the most famous of these celebrated models. The age-old legend of the crane living 1,000 years morphed into a poignant tale of Sadako, a kindergartner battling radiation sickness after the atomic bombing of Hiroshima. The Spanish Pajarita design is yet another example. The tales expand and evolve with repeated telling. These classic designs now enjoy worldwide recognition beyond just origami enthusiasts. The Internet allows new designs to go viral as each story is shared and re-shared. We now see young folders clutching their own Origami Yodas folded from Tom Angleberger’s published tales, The Strange Case of Origami Yoda, (Abrams, 2010). These legendary friends need not be simple: At folding conventions, we often see several youngsters comparing their versions of Satoshi Kamiya’s “Ancient Dragon.”

Legendary zeal happened to one of our students when he was younger. John Scarborough was an inventive creator who had learned to fold several origami animals while attending classes at our Origamido Studio. One day, he appeared with his mom and dad to reveal his own delightful origami composite design that he called the “Moxaroo.” He described it as having the head of a fox, the body of a mouse, and the tail of a kangaroo. With each subsequent meeting, there would be an added model, a tidbit of lore, often accompanying a newly folded version of the Moxaroo, or perhaps its prey. Finally, he presented us with a three-ring binder of the story, complete with life cycle factoids about his mythical creatures. This was a wonderful chapter in his creative origami life that we all still recall with a broad smile.


John Scarborough proudly shows his original “Moxaroo,” and the book of its lore.


Greg Mudarri’s legendary “Crane Riders” in a display diorama.

Our dear friend, coauthor and graphic designer, Greg Mudarri, recalled that as a child he was captivated by a U.S. News & World Report illustration from 1987 depicting a businessman riding an origami Japanese Crane folded from a tax form. He designed an origami human figure to nicely fit atop an origami crane. He exhibited a series of “Crane Riders” at our Studio, depicting them gathered around a campfire, capturing and taming the huge, fanciful creatures. Eventually, he designed an origami model to produce both crane and rider from a single, uncut square. In 2013, Greg contacted Ben Luce, the graphic artist who had designed the original illustration, in Los Angeles. A mere 26 years later, Greg met Ben and finally had the chance to thank the man whose artistic efforts inspired him to embark on so many hours of joyful paper folding. Imagine how you too can develop your own lore and legends around your favorite origami creations.

Gifts from Our Mentors

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

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

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

LaFosse & Alexander's Essential Book of Origami

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