We introduced prototype papers at the Origami USA Convention in New York City. The papers were met with great enthusiasm. Once back in Ohio, armed with information about our target users, we launched our online store. Our audience has been growing ever since. To make our papers, we begin by beating premium abaca for five hours in a Reina beater. We add internal sizing and retention agents during final fiber hydration. For this process we use Micheal LaFosse's discussions in Catherine Nash's Beating Finesse for the Artist to guide us. To color the pulp, we follow Elaine Koretsky's instructions, using blends of Twinrocker and Aardvark pigments to achieve a range of matte and luster surfaces. We let the pigmented pulp rest overnight. The following day we disperse the pulp in preparation for pouring. Robert J. Lang, A Miura-ken Beauty Rose, opus 482, designed in 2006, folded in 2011 using one uncut square of O-Gami paper (rose), Korean hanji (leaves), wire, 3 inches high. Courtesy of the artist. \[To see this work in color and to download the crease pattern, search Internet for: lang rose o-gami. Ed.\] When forming sheets, we pour the pulp onto a 22 x 28-inch mould that we purchased from Amanda Degener. For mottled sheets, we swirl two or more colored pulps in the same pouring. We drain the sheets and transfer them to a post. We place the post in our hydraulic press for fifteen minutes, and then dry the sheets for two to three days in our drier boxes, custom built from Claire Van Vliet's pattern published in an early issue of Hand Papermaking (Summer 1987). We peel off the sheets, inspect them for good formation and even coloration, then sort for thicknesses—superthin, medium, and ultra weights. We would like to thank Dr. Robert J. Lang for his invaluable advice during development, and Michael LaFosse and Richard Alexander of Origamido Studio for their insights, generosity, and warm introduction to the origami community. Technical Notes On O-Gami Paper by michael g. lafosse I pasted two sheets of O-Gami together, a thinner, mottled blue/black sheet (perfect for the display side) and a mediumweight Antique Gold sheet (chosen to add thickness and tensile strength). With this method, the paste layer adds stiffness to the paper when it is dry. This origami model must be folded wet. Although this form looks simple, it is demanding to fold (both for the artist and the paper). The paper must be strong enough to tolerate repeated folding and unfolding, since much of the project is pre-creased, collapsed, opened, and then collapsed once again to organize the layering properly and to produce the desired, 3-D shape. These O-Gami papers performed beautifully and produced this clean and durable model.

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