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Archive for the ‘artist trading cards’ Category

The subject of this card refers to the catastrophic oil spill in the Gulf of Mexico. I am contributing this original card-size mixed-media art to raise funds for institutions that work to help the wildlife victims in the Gulf of Mexico. For more information please visit the blog Ripple by Kelly Light.

Origami model : “Seagull” Created by Simon Andersen.  Diagrams for this seagull are found in the website of Hans Dybkjær (Denmark)

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frog feeding on a flyNow I’m ready! Tomorrow morning I take the origami train to travel to the OUSA convention in New York. Yay! 🙂

I plan to teach some origami models. I had this idea for a composition-assembly using  Román Díaz’ origami frog, Angel Écija’s origami fly and an origami frog tongue of my own creation. The result was this “Frog feeding on a fly”.

I committed a little “origami sin” as I made a small cut in the mouth of the frog to insert the tongue, but the idea seemed so much fun that I went for it. And no glue is used!

origami snailI will also teach a snail by Robert Lang shown in a previous entry of this blog.

Teaching is the best way to learn. Now I know these models inside out, by heart.

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owl-atc-webAnother of my plans at the convention is to participate in the  Artist Trading Card event.  Here I share the card I prepared. It is called Full Moon Owl.

I used a simple owl model by Robert Neal. Diagrams for this owl are found in a book by Gay Merrill Gross called “Zoorigami. The background was made using photoshop and printing it out on the cards. The moon was colored by hand.

Photos © Leyla Torres

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These cards are samples of the ATC trade I hosted from August to October 2008. A total of seventeen people from different countries of North, Central and South America exchanged cards.

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During the last weekend in June the third exchange of Artist Trading Cards took place at the annual Origami USA convention in New York.

The artist trading cards –ATCs, measure 2.5 by 3.5 inches and are designed with original designs or drawings and made entirely by hand. Each card must include a folded model. The cards are exchanged between participants who have registered for this event.

The photograph on the right shows one of the fifty cards I made this year. Represented is a crab scurrying about on a beach. I’ve always loved this crab model for both its simplicity and elegance. The model came to my attention through Gay Merrill Gross who mailed an example to me a few years ago. Diagrams were not available so I took the challenge of reverse-engineering the model. The original creator of the crab is unknown. Here I post step folds for the crab.

Since the model folds flat it was perfectly suited for the composition that evolved. The background of the card is painted with watercolor on Arches paper. For texture I included dry twigs and pieces of seashells and also added a little glitter to the sand.

In exchange for the fifty cards I made of this theme, I received an equal number of other artist’s cards. All were made with great care and creativity. The following picture shows most of the cards as they hung in the exhibition hall along with other origami models.

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ATCs

A couple of years ago –when I first heard about Artist Trading Cards, it seemed like something I would like to do, but was hesitant as I didn’t think I would have enough time for one more activity in my life. The ATC event at the OUSA convention was a good enticement though. I participated because it combines several things that are meaningful to me: origami, small-format artwork, play, barter, and the opportunity to connect with others who have similar interests.

In April, when I made a commitment to participate in the swap, I was at the time producing some illustrations of horses. I printed the horses on paper I normally used to fold traditional origami shirts as an experiment, and decided to use these shirts to make my ATC edition.

One morning, after I had already folded the fifty shirts needed for the edition, I was showing them to John, my husband, and he suggested I give names to the horses. During the course of our conversation we determined that these names should be those of historical or literary horses, and their riders. I loved the idea, but it involved researching the names of fifty famous horses, typing the names under the illustration of each horse, printing the horses on new pieces of paper, cutting the paper, and then refolding 50 new shirts to make a whole new set of cards. In short, it meant doing the project all over again!

I laughed when I thought of all the effort I would have to invest a new, and placed all the blame on John for planting such an idea in my head. Soon after though, I was fully engaged in researching the names of famous horses and their equally famous riders. After about four weeks of putting in an hour of work here and two hours there, the new set of cards was completed.

I traveled to New York with a little box full of cards representing horses such as Bucephalos, ridden by Alexander the Great’s; Babieca, who was EL Cid’s mount; that most famous steed of Simon Bolivar, Palomo; and of course Silver and the Lone Ranger. Among those fifty though, the pair closest to my heart was Don Quixote’s and his loyal companion, Rocinante.

What color was Rocinante, I wondered as I did these illustrations? Cervantes never told us. And although Rocinante is represented as white in all the illustrations I found, I made my Rocinante black.

Rocinante

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