




Date: Mon, 13 Feb 1995 14:43:07 -0400
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: Sinks are sooooo hard - Help!

>Hello,
>
>I just bought the book "origami sea life" and after temporarily giving up
>on the chambered nautilus, I thought that I would try the atlantic purple sea
>urchin.  It seemed to have mostly the types of folds found on the frog, and
>lily, items that I can easily do.  BUT, he snuck in a sink fold, and I spent
>an hour ripping several models while I tried in vain to do a sink from step 20.
>
>Any hints on how to do a sink?
>
>
>thanks,
>laurie

Laurie (again! ) -

        Hey, two help messages in one day!  Gee, if _this_ keeps up we're
going to be fast friends!  ;-)

        Okay...sinks are another of those difficult folds that people
always run into trouble with!  >>>SIGH<<<....  There are two kinds of sink:
open, and closed.  Open sinks are easier -- they usually involve opening
up a portion of the paper to do the fold (hence the name).  Unfortunately,
Lang and Montroll's boook doesn't do the description of how to do these
folds justice, and Engel's book has the instructions for open and closed
sinks reversed!  (A bad typo...).  Whenever I teach sinks, I always use a
waterbomb base -- the broad, closed upper point of this base is good for
sinking.

        If you were to take the waterbomb base and fold some arbitrary
amount of the broad point down and unfold it, you'd have a nice, straight,
horizontal line.  But slowly unfold the base, while keeping an eye on that
line -- when the paper is flat, you'd see that the line you folded is
actually one side of a square!  Now, if you were to take each line that
makes a side of that square, and make them all into mountain folds, and
then refold the waterbomb base keeping the little square's mountain folded
sides in place, you'd end up with a waterbomb base whose broad, upper point
has been open sinked (sunk?).  (This, BTW, is the result of the diagram in
Lang and Montroll's book where they describe open sinks.)  Sinks, by
definition, occur in places where the lines do _not_ intersect an open
edge, except occasionally at just a point -- that is, the lines involved in
the sink do not hav contact with an open edge -- if they do, then they
become reverse folds, not sinks.  For anyone who's tried to fold many
British models, you've probably noticed a completely arbitrary interchange
of the words "sink" and "reverse fold."  No standardization...

        Anyway, back to sinks...the kind of sink _you_ want in Step 20 of
the "Urchin," is a closed sink (the harder kind -- of course!  8-)  )
Closed sinks to not involve opening up the paper; instead, you just have to
force the paper to pop directly from one place to another.  Rarely are
these neat folds; but that's OK because the crumpling of the layers usually
gets hidden away somewhere by the sinking process.   Closed sinks almost
always end up trapping some layers of paper -- that's why they're good for
locking mechanisms in folding.

        Imagine again, if you will , the waterbomb base.  Again, you've
creased some arbitrary amount of the upper point down.   Now, look inside
the waterbomb base (don't unfold it!) -- you'll see two large areas of
paper that lead up to the inside of the broad, upper point.  These are the
layers that are going to get trapped.

        Let's start off easy:  for this closed sink, we're only going to
hold _one_ of these inner layers together.  That is, let's just hold the
left side of the waterbomb base shut with one hand.  Now, open up the model
as far as you can -- you'll end up with a pyramidal model that's open on
the bottom (OK, OK, it's an irregular tetrahedron, but let's not be picky!
8-)  )  Notice that instead of the line you folded ending up as one side of
a square, as it did with the open sink, but now it's one side of a
triangle.  The triangle, of course, doesn't lie flat, like the square did.
Now, while still holding the left side shut, just force the portion of the
pyramid delineated by the triangle's lines down and into the body of the
waterbomb base.  Then you can close the model back up.  What you'll have is
a waterbomb base that still has the four points at the sides, but the two
points at the left side, where you held the layers together, are trapped
together at the top!  What you've actually done here is close sink edthe
left side of the model, but open sinked the right side.  To close sink the
whole thing, you'd have to hold _both_ sides together and push the top
point in!  _That's_ hard!  8-)

        Fortunately, Step 20 of the "Urchin" isn't so bad.  If you look at
the diagram, you'll see that the flap sticking off to the left?  Follow
it's bottom edge -- it changes direction right where the edge meets the
central, vertical axis of the model.  It's at that point where you'll push
to perform the closed sink.  (Don't worry about holding any layers together
here, though -- they're already trapped for you!  8-)  )  It's just a
matter of forcing the point inside-out, so that it points up, instead of
down.  The tip of the point is usually the hardest; you may have to get a
dull pencil or somesuch item to reach inside and force the tip out.

        But just wait!  8-)  The hard parts of this model are the incessant
repetitions of Steps 27-34 all through the model!  In essesence, doing
these steps is not unlike undoing a closed sink...but you'll see what I
mean!

        Again, I hope this helps!

Jerry D. Harris
Denver Museum of Natural History
2001 Colorado Blvd.
Denver, CO  80205
(303) 370-6403

Internet:  jdharris@teal.csn.net
CompuServe:  73132,3372
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
        "I repainted the picture Brown had painted for us.  A dying,
shrinking lake...these great...behemoths...dying..."
        "Well," she said, "all you tell me may be so...but I still can't
see why such creatures would have wanted to do it in the first place."
        "Do what, ma'am?"
        "Why, crawl away back under all that rock to die."

-- Roland T. Bird, _Bones for Barnum Brown_





Date: Thu, 16 Feb 1995 00:05:58 -0400
From: tim kennedy <TKENNEDY@UGA.CC.UGA.EDU>
Subject: Boxes,etc.

My interest has been aroused by a recent note on this forum concerning the
subject of origame boxes. I can't stop wondering about it. My query is for
related books on the subject that other interested parties could recommend.
BTW, has anyone created these boxes using thin sheet metal as a folding
material?
best electrons,
TK





Date: Thu, 16 Feb 1995 15:50:09 -0400
From: SPARKER@u.washington.edu
Subject: ISBN for Biddles' Amazing Origami for Children

Hi!

In case anyone is interested, the ISBN for Steve and Megumi Biddle's
Amazing Origami for Children is 1-55521-944-6.  I just so happened to have
the book here at work.  I love the picture of the 1000 cranes in it.

Sue
sparker@u.washington.edu





Date: Thu, 16 Feb 1995 16:50:21 -0400
From: Rjlang@aol.com
Subject: Re: A test!!

>  What is the most difficult origami model from a sigle piece of paper?
> > I'm looking for something new to work on, and wonder what you think.

> I think traditionally, that to take a square with four corers, and make
> something with more than four extensions has always been difficult, or at
> least tricky.

In the immortal words of Chief Inspector Clouseau,

"Nut enny more..."

Over the past few years, a number of folders around the world (myself
included) have been working on the problem of folding a base with an
arbitrary number and distribution of points, and I think it is fair to say
that several solutions now exist. The Japanese folders Meguro, Maekawa, and
Kawahata have developed geometric design techniques involving tangent circles
that produce a crease pattern foldable into a base with an arbitrary
distribution of points. Meguro, in particular has done some absolutely
phenomenal insects with legs, wings, mouthparts, rows of spines along the
jaws, that sort of thing. I've also been working on the problem; last year I
developed a numerical algorithm that starts from a topological description of
a base and gives the bare skeleton of a crease pattern that is guarateed to
be foldable into the base. I wrote a computer program, Treemaker 2.0, that
does the computation, and some documentation describing the algorithm -- they
are posted on the archives. You can also get a fuller description of
Kawahata's, Meguro's, Maekawa's, and my algorithms (as well as lots of other
cool stuff) if you can lay your hands on the proceedings of the Origami
Science convention from last November.

Incidentally, I have since figured out the rest of an algorithm to get the
full crease pattern and am madly coding away at a new version of Treemaker
that will compute and print out the full crease pattern for a base with an
arbitrary number, size, and distribution of points. As soon as I get
something fully running, I'll send it to someone to post to the archives.

Robert





Date: Thu, 16 Feb 1995 16:58:56 -0400
From: Rjlang@aol.com
Subject: Crimps and pleats

On Monday, 13 Feb. Jerry Harris wrote:

> ...Step 17 of Lang's Nautilus is NOT pleating!!! (Everyone get out
> their red pens and correct this).

Well, I hope your red pens are not indelible, because step 17 of the Nautilus
is indeed a pleat. The essential difference between a crimp and a pleat lies
not the angle of the folds (more on this issue in a minute) but in the
configuration of the raw edges of the paper (or the edges that would be
exposed in a slice through the paper). In a pleat, all of the edges in the
flap go the same direction; in a crimp, different layers go different ways.
For example: in a two layered flap, look at the edges of the paper. If they
look like this:

--------
-----  /
    /  -----
   ------

it's a pleat. If they look like this:

--------
       /
      -------
      -------
       \
--------

it's a crimp.

John and I don't talk about crimps versus pleats in OSL but you can find a
fuller exposition of this distinction in Origami Zoo (Lang/Weiss) and Origami
Animals (Lang).

Now, for those who try to make the claim that it's a pleat if the lines are
parallel and a crimp otherwise, there are lots of pathological cases that
make that definition problematic (as well as less common in general usage).
For example, what happens if the angle of the lines differ by 0.000001
degree? Has it magically shed its pleat-ness and become a crimp due to that
extra nanoradian?

Also, although Jerry says that in a crimp, "the lines _do_ intersect," if the
mountain and valley folds are _nearly_ the same angle but are spaced apart
from one another, the point of intersection might be awfully far away from
the model!

Philosophically, if we're going to have two different terms in usage, then
they should describe two structures that differ by more than an infinitesimal
amount. In my, John's (and incidentally, quite a few other people's)
definition, crimps and pleats are fundamentally different; which is why step
17 is a pleat and step 19, which has creases in exactly the same place but
different layers go different directions, is a crimp.

(Definitions aside, Jerry gave a very good description of performing the
folds, whatever-they-are.)

Robert Lang





Date: Thu, 16 Feb 1995 17:37:57 -0400
From: Mary Jane Heussner <rgtmjh@gsusgi2.gsu.edu>
Subject: Date change of next Atlanta Origami meeting

For all people in the Atlanta area who attended the last Atlanta origami
folding get together--

Our next folding date will be Mar. 10 (_NOT_ Mar. 3).  I understand that
March 10 presents a conflict for some people and I'm sorry.  We'll try to
pick a date that suits EVERYONE next time.  Anyone who will be in the
Atlanta area on Mar. 10 is invited to come (Robert L., are you planning a
visit to see your parents??  Jan how about another business trip?)  We
will be meeting at the home of Martha Mitchen, 2933 Ridgelock Ct,
Doraville, GA; phone: 404-396-4586.  You can email me personally
(rgtmjh@gsusgi2.gsu.edu) if you want specific directions or more
information about our group.

Mary Jane





Date: Thu, 16 Feb 1995 20:33:06 -0400
From: brannon@ranger.enet.dec.com
Subject: Looking for a Chinese Dragon origami model

Hi,

I'm looking for pointers to a Chinese Dragon origami model.  All the dragon
models I've come across so far have been Western European style dragons.
The Chinese dragon is more snakelike with antlers.

thanks,
dennis





Date: Thu, 16 Feb 1995 20:57:19 -0400
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Looking for a Chinese Dragon origami model

On Thu, 16 Feb 1995 brannon@ranger.enet.dec.com wrote:

> I'm looking for pointers to a Chinese Dragon origami model.  All the dragon
> models I've come across so far have been Western European style dragons.
> The Chinese dragon is more snakelike with antlers.

I have one, but it's not diagrammed yet. You can also find some (but less
sinuous than mine) in some of Kasahara's books:

Creative Origami (3 pieces of paper)

Viva Origami (by Maekawa)

Origami for the Connoisseur (based on Maekawa's design)

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Date: Thu, 16 Feb 1995 22:07:41 -0400
From: Amy Dragon Rawson <a_rawson@storm.simpson.edu>
Subject: Re:  Looking for a Chinese Dragon origami model

oooooh ... if you find one let me know too ...

Dragon





Date: Fri, 17 Feb 1995 01:07:39 -0400
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: A test!!

>You can also get a fuller description of
>Kawahata's, Meguro's, Maekawa's, and my algorithms (as well as lots of other
>cool stuff) if you can lay your hands on the proceedings of the Origami
>Science convention from last November.

Robert -

        Hi!  For those of us who really aren't into origami in a
mathematical sense, but are interested in learning a bit more, could you
perhaps provide an address for obtaining this Origami Science tome (and any
of its predecessors)?  Thanks so much!

Jerry D. Harris
Denver Museum of Natural History
2001 Colorado Blvd.
Denver, CO  80205
(303) 370-6403

Internet:  jdharris@teal.csn.net
CompuServe:  73132,3372
|||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||||
        "I repainted the picture Brown had painted for us.  A dying,
shrinking lake...these great...behemoths...dying..."
        "Well," she said, "all you tell me may be so...but I still can't
see why such creatures would have wanted to do it in the first place."
        "Do what, ma'am?"
        "Why, crawl away back under all that rock to die."

-- Roland T. Bird, _Bones for Barnum Brown_





Date: Fri, 17 Feb 1995 02:52:43 -0400
From: GDScott@aol.com
Subject: Re: ISBN for Biddles' Amazing...

Do you mind sharing your source for the Biddle book?  Much appreciated.
 Thanks.





Date: Fri, 17 Feb 1995 08:18:31 -0400
From: jadr@oce.nl (J. Adriaanse)
Subject: death of Ray Johnson

The following is meant for those folders who like to create things you can
send by mail. Maybe you have at one time taken part in a project by Ray Johnson.

Elsje van der Ploeg of the European Letter Fold Association (ELFA for short)
asked me to post this to the newsgroup.

Please email to Guy Bleus (Guy.Bleus@eunet.be) for more information on this
fax project. You can mail to me (jadr@oce.nl) for more info on ELFA.

Greetings,

Sjaak Adriaanse

---------------------------------

Dear Netlander,

On Saturday Jan. 14. 1995 the American artist Ray Johnson died. He drowned
himself by jumping off a bridge in the village of Sag Harbor (Long Island).
The NY Police Department confirmed this news on January 16.

Ray Johnson is the father of 'mail-art'. That is why The Administration
Centre in Wellen, Belgium, decided to stage a special happening dedicated to
Ray on the date of the opening of the electronic part of the Archives of
Mail Art. This will be on February 22. at 2000h (MET). The location is
mentioned below.

What can you do?

Send a special fax to the following number:

+32-11-23.49.42

with theme subject "Pray for Ray, in memory of Ray Johnson".
Deadline: February 22. at 2400h (MET).

All works will be included in the Electronic Archives of Mail Art.
Please mention your fax number (or email address, or snail mail address), so
the organisation committee can react.

The Archives are at:

Centrum voor Kunsten
Zuivelmarkt 33
3500 Hasselt (House no. 8)

Mail address:
The Administration Centre - 42.292
Archives / Guy Bleus
P.O. Box43
3830 Wellen
Belgium

phone/fax: +32-12-74.14.15 (open night & day)
phone/fax: +32-11-23.49.42 (open night & day)
email: Guy.Bleus@eunet.be

------------------------------------------------------------------

Sjaak Adriaanse
email: jadr@oce.nl
----------------------------------------------------------------

 This note does not necessarily represent the position
 of Oce-Nederland B.V. Therefore no liability or
 responsibility for whatever will be accepted.





Date: Fri, 17 Feb 1995 09:15:21 -0400
From: vann@cardiff.com (V'Ann Cornelius)
Subject: Origami Display

The ZOO display is up. What actually happened is that the whole
window expanse was used.  (I had expected to limit the display to
10' of each 30' window casing.)
A zoo horiculturalist located giraffe stripped branches, tree
trimmings of various types and wire. With the staging the whole
area quickly rather designed itself.

We positioned a Kawasaki Rose
briar up one side with four inch ants (designed by R. Lang and wet
folded by Phillip Yee) crawling up one honeysuckle vine.

There are granite rock piles with red-washi -Kawasaki roses as the
base for the tree branches.

Phillip also sent several birds (Hoopoe and Winged Eagle) which
were positioned. The box turtle folded by Robert five years ago
and loaned before he left southern call is positioned at the base
of one of the 'tree's. In another 'tree setting' is a 6" tarantula
designed by Robert but folded by Mark Saliers in brown fadeless paper.
The tarantula is coming from under a granite rock and the Winged
Eagle  looks like it just landed on a tree branch.

I folded butterflies in duo(LaFosse, Yoshizawa, and Kasahara). They
were positioned on the various trees and in the background on the
lamur rigging.

When the zoo etymologist saw the insects, his attention was captured.
He spent about several minutes quitely looking at each beetle. He
said that he bet that he could take one apart ... but didn't. He and
his fellow workers couldn't believe their eyes.

There is a sign dedicating the display to Michael.

There is so much glass I'm having trouble getting a picture.
Thank you, Robert, for publishing your designs.

V'Ann
vann@cardiff.com





Date: Fri, 17 Feb 1995 11:32:27 -0400
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Origami book for beginners to intermediate (was Re:Michael Shall)

In message <01HN46V0R20IBDKQA5@MAX.U.WASHINGTON.EDU.L>,
    (Sue) sparker@u.washington.edu wrote:
+In case anyone is interested, the ISBN for Steve and Megumi Biddle's
+Amazing Origami for Children is 1-55521-944-6.  I just so happened to have
+the book here at work.  I love the picture of the 1000 cranes in it.
In message <950216223937_23882851@aol.com>,
    GDScott@aol.com wrote:
+Do you mind sharing your source for the Biddle book?  Much appreciated.
+ Thanks.

I found my copy of AOfC in the Edwin R. Hamilton catalog.  They also have
Jay Ansil's Mythical Beings.  Hamilton is mail order only.  I don't have
their address with me, so I'll post it over the weekend sometime, unless
someone else does first.

Sue:  The photos are amazing!  I was so stunned by the photo of the 1000
cranes that I didn't even know what it was at first.

I think Amazing ORIGAMI for Children is a great beginner's book and should
have been named Amazing ORIGAMI for Beginner's.  Sure, there are the
"cutesy" two piece animals with drawn in facial features, but there are
lots of good beginner's models in general.  The book ends with Sonob`e units
for some simple things, a two piece coaster, the three piece "jewel", and the
final model is a stellated octahedron, though they call it something else.

An odd thing about this book is that it doesn't use/introduce any of the
standard folding terms, like "valley", "mountain", "reverse", etc.  The only
folds that they use are valley folds, so there are lots of turn-the-model-over
steps.  I suppose this is a "gentler" introduction and is something definitely
aimed more at kids than at beginner's in general.

-Doug





Date: Fri, 17 Feb 1995 16:48:59 -0400
From: brannon@ranger.enet.dec.com
Subject: Re: Looking for a Chinese Dragon origami model

>On Thu, 16 Feb 1995 brannon@ranger.enet.dec.com wrote:
>
> I'm looking for pointers to a Chinese Dragon origami model.  All the dragon
> models I've come across so far have been Western European style dragons.
> The Chinese dragon is more snakelike with antlers.

On Thu, 16 Feb 1995 jwu@cs.ubc.ca replied:

>I have one, but it's not diagrammed yet. You can also find some (but less
>sinuous than mine) in some of Kasahara's books:
>
>Creative Origami (3 pieces of paper)
>
>Viva Origami (by Maekawa)
>
>Origami for the Connoisseur (based on Maekawa's design)

Thanks for the pointers.  I've folded the dragon in Creative Origami, but
was disappointed with the results.  It looks like a skinny European dragon
on all fours.

I'll add "Viva Origami" to my next shopping list to OrigamiUSA.  Thanks!

I checked "Origami for the Connoisseur" this morning, but I didn't see
any dragons in there.  I'll check again.

If you do diagram your sinuous dragon, could you please make it available
via your web page?

I've folded a Chinese dragon based on the drawings I saw on Chinese New Year
decorations, and a Windows backdrop a friend had.  It's sinuous and has an
elaborate head, but due to time constraints, I had to use glue and
scissors more than I would have liked.  I'm working on a second model now
and I hope to eliminate the scissors and keep the glue to a minimum.

I haven't tried diagramming origami yet, other than some rough diagrams
on paper to clarify what I'm trying to make.  I was considering using
Microsoft Word for Windows since it can output in postscript.
Is that the right choice, or is there something more appropriate?

thanks,
Dennis Brannon   <brannon@ranger.enet.dec.com>
Ayer, Massachusetts, USA





Date: Fri, 17 Feb 1995 17:15:47 -0400
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Looking for a Chinese Dragon origami model

On Fri, 17 Feb 1995 brannon@ranger.enet.dec.com wrote:

> Thanks for the pointers.  I've folded the dragon in Creative Origami, but
> was disappointed with the results.  It looks like a skinny European dragon
> on all fours.
>
> I'll add "Viva Origami" to my next shopping list to OrigamiUSA.  Thanks!
>
> I checked "Origami for the Connoisseur" this morning, but I didn't see
> any dragons in there.  I'll check again.

Eeep! My mistake. I meant _Origami_Omnibus_. Well, there goes my
reputation for being a walking model database! 8)

> If you do diagram your sinuous dragon, could you please make it available
> via your web page?

Will do. I've started it, but it looks like a long haul. Too much
precreasing, and many, many crimps. I should really get a photo up on the
web page, however...

> I've folded a Chinese dragon based on the drawings I saw on Chinese New Year
> decorations, and a Windows backdrop a friend had.  It's sinuous and has an
> elaborate head, but due to time constraints, I had to use glue and
> scissors more than I would have liked.  I'm working on a second model now
> and I hope to eliminate the scissors and keep the glue to a minimum.

I'm actually working on a new Chinese dragon with a proper scale texture
to it right now.

> I haven't tried diagramming origami yet, other than some rough diagrams
> on paper to clarify what I'm trying to make.  I was considering using
> Microsoft Word for Windows since it can output in postscript.
> Is that the right choice, or is there something more appropriate?

If you're on Windows, I strongly suggest you get a proper drawing program
like CorelDRAW (what I use) or one of its competitors. Trying to do
diagrams with a word processor (even one with a small drawing package
like Word) is a good prelude to insanity. Besides, any Windows program
will output Postscript.

Good luck!

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)





Date: Fri, 17 Feb 1995 18:45:42 -0400
From: brannon@ranger.enet.dec.com
Subject: Re: Looking for a Chinese Dragon origami model

I'll check Origami Omnibus over the weekend.  I don't remember
seeing a dragon in there, but I could be wrong. 8^)

Thanks for the encouragement.  I've been folding origami from books
for a few years, and I've just start down the path of creating
my own models.

Thanks for the advice on using a drawing program and the recommendation
for Corel Draw.  I picked Word initially because it was a tool I already had
at work, and it could insert graphics generated with Windows Paintbrush.
But you're right that could lead to insanity 8^)...

For now, I think I'll stick with drawing programs on my Amiga 2000,
since I'm more familar with those, and output using the Amiga's postscript
printer driver.  Corel Draw is a little too pricy for my simple diagramming
needs now.  Maybe later.

thanks,
dennis  <brannon@ranger.enet.dec.com>    Ayer, MA  USA





Date: Sat, 18 Feb 1995 00:21:51 -0400
From: Doug Philips <dwp+@transarc.COM>
Subject: Re: Glue (eeeeeeeeeyy......)

Along time ago, in a message far far away,
    Cyrene Slegona <cslegona@ssi.edc.org> wrote:

+I have a StyleWriter II printer. It is now possible to refill the ink
+cartridge by purchasing a refill kit. The replacement ink comes in a
+little bottle with a needle-like application that is inserted into the
+cartridge. When empty it good for delicate applications of oil, or glue!
+It is a way to recycle as well.

Interesting... How do you control the flow of "liquid" through the needle?

-Doug





Date: Sat, 18 Feb 1995 00:30:32 -0400
From: Doug Philips <dwp+@transarc.com>
Subject: Re: (Purists avert your eyes, I wanna talk about GLUE!!!)

A long time ago, in a message far far away,
    land@UTSW.SWMED.EDU (Kevin J. Land) wrote:
+While in a local craft store the other day, I noticed in the GLUE area a
+model glue tube with a needle-like tip that extended for 2.5-3.5cm.  If you
+could use the modeling glue ??? you would have the tip you may need built
+into it.

I think modelling glue only works on plastic (as I recall from my Baryon days
of youth, modelling glue works by softening/dissolving the plastic on the
parts being joined).  But I will look at it carefully the next time I'm in the
craft store and see if my rememberys are still true.  Thanks,
            -Doug





Date: Sat, 18 Feb 1995 14:55:02 -0400
From: davevans@onramp.net (David W. Evans)
Subject: What's OrigamiUSA? A mail order place?

>>Creative Origami (3 pieces of paper)
>>
>>Viva Origami (by Maekawa)
>>
>>Origami for the Connoisseur (based on Maekawa's design)
>
>Thanks for the pointers.  I've folded the dragon in Creative Origami, but
>was disappointed with the results.  It looks like a skinny European dragon
>on all fours.
>
>I'll add "Viva Origami" to my next shopping list to OrigamiUSA.  Thanks!
>
=============================================================================
Dear All,
        What's OrigamiUSA.  The above snippet is from the discussion of
Chinese dragons.
=====================================
David Evans
davevans@onramp.net





Date: Sat, 18 Feb 1995 15:03:33 -0400
From: davevans@onramp.net (David W. Evans)
Subject: Help with Montroll's Tetrahedron

        Request for help re: Tetrahedron in Montroll's _Origami Inside-out_
pp. 20-21.  My son is stuck on steps 14 and 15; frustrated that the
directions are not clear enough for him to follow.  His complaint is that it
doesn't explain or diagram how to "tuck inside" (step 14) or "wrap around
and tuck inside" (step 15).

        I can't help him because he long ago surpassed my ability to read
and explain the origami diagrams to him.

        Explanations of these steps would be appreciated.  Thanks.
=====================================
David Evans
davevans@onramp.net





Date: Sat, 18 Feb 1995 16:54:57 -0400
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: Help with Montroll's Tetrahedron

>        Request for help re: Tetrahedron in Montroll's _Origami Inside-out_
>pp. 20-21.  My son is stuck on steps 14 and 15; frustrated that the
>directions are not clear enough for him to follow.  His complaint is that i=
t
>doesn't explain or diagram how to "tuck inside" (step 14) or "wrap around
>and tuck inside" (step 15).
>
>        I can't help him because he long ago surpassed my ability to read
>and explain the origami diagrams to him.
>
>        Explanations of these steps would be appreciated.  Thanks.
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>David Evans

David -

        OK, let's see if I can help!  The problem is that in the two steps
you mentioned, the model moves in three dimensions; the third, in this
case, being into the page -- but let's face it:  it's oh so much easier to
diagram things in nice, easy-to-render 2D, isn't it?  8-)  That's my guess
as to why Montroll didn't bother with an oblique angle view to show all
three dimensions.

        In Step 14, notice that in the center of the model there is a
COLORED TRIANGLE pointing down; on either side is a WHITE TRIANGLE pointing
up.  In the case of Step 14, we're only dealing with the WHITE TRIANGLE on
the right; it's delineated by mountain fold lines.  These two mountain
folds lines, BTW, are what moves the model into 3D!  That is, when you fold
on those two lines, the model isn't lying flat anymore -- it's east to
recognize, because you're actually forming the tetrahedral shape of the
model at this point!  8-)

        First, it's easiest to recall that every angle of an equilateral
triangle -- such as is each face of the tetrahedron -- is 60=B0.  Since each
angle of each face is 60=B0, the angles between faces are also 60=B0.

        Now, The first mountain fold line, the one that borders between the
COLORED TRIANGLE and the right WHITE TRIANGLE folds the entire right side
of the model back at such a 60=B0 angle -- the model isn't flat, since the
flap is sticking out behind the model (thus these folds must be done in
mid-air, and not on a surface).  When the next mountain fold line (the one
that borders the right edge of the WHITE TRIANGLE) is _also_ folded at 60=B0=
,
it brings the tiny portion of the flap remaining in line with the top
horizontal edge of the model -- this tiny portion is the little (scalene)
triangle that sticks up from the right hand side of the model's diagram in
Step 14.  Notice that this flap's bottom edge is the third mountain fold
line in Step 14's diagram -- it is this mountain fold line that lies atop
the horizontal  top edge of the model.  This tiny flap gets tucked behind
the front face of the model (the front face is composed of both WHITE
TRIANGLES and the COLORED TRIANGLE).  This is why, in the diagram for Step
14, the arrow leads from the small flap and into the model behind the
COLORED TRIANGLE.

        Once you've accomplished this step, Step 15 becomes fairly obvious,
because the right side of the model now has its tetrahedral shape.  It's
just open at the left side.  Now, though, we're working with the left WHITE
TRIANGLE.  The mountain fold at the border between the COLORED TRIANGLE and
the left WHITE TRIANGLE, when folded back at 60=B0, covers the opening of th=
e
tetrahedral portion made in Step 14.  The mountain fold at the left edge of
the left WHITE TRIANGLE, when folded at 60=B0, merely covers an existing (bu=
t
two-colored) face of the tetrahedron formed in Step 14.  The remaining
mountain fold line, at the edge of a similar small flap to the one we saw
in Step 14, is tucked behind a completely white face (the right WHITE
TRIANGLE from Step 14) of the tetrahedron, thus completing (and locking,
hopefully) the model.

        I hope this helps!

Jerry D. Harris
Denver Museum of Natural History
2001 Colorado Blvd.
Denver, CO  80205
(303) 370-6403

Internet:  jdharris@teal.csn.net
CompuServe:  73132,3372

--)::)>   '''''''''''''/O\'''''''''''=B0  Jpq--   =3Do}\   w---^/^\^o

        "I repainted the picture Brown had painted for us.  A dying,
shrinking lake...these great...behemoths...dying..."
        "Well," she said, "all you tell me may be so...but I still can't
see why such creatures would have wanted to do it in the first place."
        "Do what, ma'am?"
        "Why, crawl away back under all that rock to die."

-- Roland T. Bird, _Bones for Barnum Brown_
--)::)>   '''''''''''''/O\'''''''''''=B0  Jpq--   =3Do}\   w---^/^\^o





Date: Sat, 18 Feb 1995 16:58:18 -0400
From: Gretchen Klotz <gren@lclark.edu>
Subject: Re: Boxes,etc.

Origami USA contact/membership information appears below!

On Thu, 16 Feb 1995, tim kennedy wrote:

> My interest has been aroused by a recent note on this forum concerning the
> subject of origame boxes. I can't stop wondering about it. My query is for
> related books on the subject that other interested parties could recommend.

Howdy!  Box fanatic here. :^) Tomoko Fuse' is known as The Queen of Unit
Origami.  She has more than 20 books in print, most on boxes and most in
Japanese.  _Origami Boxes_ (ISBN 0-87040-821-6) is in English and is
available from Origami USA.  She has a "box kit" published last year that
I've seen in Borders Books and also several Japanese bookstores.  This
includes a book with different models and paper (I assume -- haven't
gotten it since I have a bunch of her Japanese books to keep me busy).
Those would be the best places to start exploring boxes intensively.

For membership information, contact the Origami USA "home office" at:

        15 W 77th Street
        New York, NY  10024-5192
        (212) 769-5635

Individual membership is $20/year, with other categories available.  You
get a quarterly newsletter with lots of great info and a 10% discount on
your purchases, plus other benefits.

For the supply list only (how to order books and paper), send a
self-addressed envelope with *two* stamps to:

        Phyliss Meth
        40-05 166th Street
        Flushing, NY  11358

> BTW, has anyone created these boxes using thin sheet metal as a folding
> material?

I've never considered it -- it might be interesting, but in my experience,
when putting all the units together to form the box I really need the
"forgiveness" of paper.  I always end up curving, jiggling, tugging,
teasing and sometimes folding it into place.  Don't know that metal would
be so flexible -- or if it was, it would be like folding with foil paper:
your every mistake shows!  Let us know if you attempt it, though.  Me,
I'll stick to exploring different fixatives to spray or brush on my
finished models for added permanence.  But I love the ethereality of a
plain paper box best of all. :-)

- Gretchen





Date: Sat, 18 Feb 1995 22:24:34 -0400
From: davevans@onramp.net (David W. Evans)
Subject: Re: Help with Montroll's Tetrahedron

======================REPLY=============================
Jerry,
        Thanks so much for your help!  My son immediately followed your
directions and folded the tetrahedron.  He then unfolded it to explain by
showing me how the two dimensional diagrams depicted the steps and why the
depiction was difficult to follow until you understand the three dimensional
folding that is required.  Thanks so much!  I'm going to print your
instructions and put them into the book.
========================================================

>>        Request for help re: Tetrahedron in Montroll's _Origami Inside-out_
>>pp. 20-21.  My son is stuck on steps 14 and 15; frustrated that the
>>directions are not clear enough for him to follow.  His complaint is that i=
>t
>>doesn't explain or diagram how to "tuck inside" (step 14) or "wrap around
>>and tuck inside" (step 15).
>>
>>        I can't help him because he long ago surpassed my ability to read
>>and explain the origami diagrams to him.
>>
>>        Explanations of these steps would be appreciated.  Thanks.
>>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
>=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D
>>David Evans
>
>David -
>
>        OK, let's see if I can help!  The problem is that in the two steps
>you mentioned, the model moves in three dimensions; the third, in this
>case, being into the page -- but let's face it:  it's oh so much easier to
>diagram things in nice, easy-to-render 2D, isn't it?  8-)  That's my guess
>as to why Montroll didn't bother with an oblique angle view to show all
>three dimensions.
>
>        In Step 14, notice that in the center of the model there is a
>COLORED TRIANGLE pointing down; on either side is a WHITE TRIANGLE pointing
>up.  In the case of Step 14, we're only dealing with the WHITE TRIANGLE on
>the right; it's delineated by mountain fold lines.  These two mountain
>folds lines, BTW, are what moves the model into 3D!  That is, when you fold
>on those two lines, the model isn't lying flat anymore -- it's east to
>recognize, because you're actually forming the tetrahedral shape of the
>model at this point!  8-)
>
>        First, it's easiest to recall that every angle of an equilateral
>triangle -- such as is each face of the tetrahedron -- is 60=B0.  Since each
>angle of each face is 60=B0, the angles between faces are also 60=B0.
>
>        Now, The first mountain fold line, the one that borders between the
>COLORED TRIANGLE and the right WHITE TRIANGLE folds the entire right side
>of the model back at such a 60=B0 angle -- the model isn't flat, since the
>flap is sticking out behind the model (thus these folds must be done in
>mid-air, and not on a surface).  When the next mountain fold line (the one
>that borders the right edge of the WHITE TRIANGLE) is _also_ folded at 60=B0=
>,
>it brings the tiny portion of the flap remaining in line with the top
>horizontal edge of the model -- this tiny portion is the little (scalene)
>triangle that sticks up from the right hand side of the model's diagram in
>Step 14.  Notice that this flap's bottom edge is the third mountain fold
>line in Step 14's diagram -- it is this mountain fold line that lies atop
>the horizontal  top edge of the model.  This tiny flap gets tucked behind
>the front face of the model (the front face is composed of both WHITE
>TRIANGLES and the COLORED TRIANGLE).  This is why, in the diagram for Step
>14, the arrow leads from the small flap and into the model behind the
>COLORED TRIANGLE.
>
>        Once you've accomplished this step, Step 15 becomes fairly obvious,
>because the right side of the model now has its tetrahedral shape.  It's
>just open at the left side.  Now, though, we're working with the left WHITE
>TRIANGLE.  The mountain fold at the border between the COLORED TRIANGLE and
>the left WHITE TRIANGLE, when folded back at 60=B0, covers the opening of th=
>e
>tetrahedral portion made in Step 14.  The mountain fold at the left edge of
>the left WHITE TRIANGLE, when folded at 60=B0, merely covers an existing (bu=
>t
>two-colored) face of the tetrahedron formed in Step 14.  The remaining
>mountain fold line, at the edge of a similar small flap to the one we saw
>in Step 14, is tucked behind a completely white face (the right WHITE
>TRIANGLE from Step 14) of the tetrahedron, thus completing (and locking,
>hopefully) the model.
>
>        I hope this helps!
>
>
>Jerry D. Harris
>Denver Museum of Natural History
>2001 Colorado Blvd.
>Denver, CO  80205
>(303) 370-6403
>
>Internet:  jdharris@teal.csn.net
>CompuServe:  73132,3372
>
>--)::)>   '''''''''''''/O\'''''''''''=B0  Jpq--   =3Do}\   w---^/^\^o
>
>        "I repainted the picture Brown had painted for us.  A dying,
>shrinking lake...these great...behemoths...dying..."
>        "Well," she said, "all you tell me may be so...but I still can't
>see why such creatures would have wanted to do it in the first place."
>        "Do what, ma'am?"
>        "Why, crawl away back under all that rock to die."
>
>-- Roland T. Bird, _Bones for Barnum Brown_
>--)::)>   '''''''''''''/O\'''''''''''=B0  Jpq--   =3Do}\   w---^/^\^o
>
>
>
>
=====================================
David Evans
davevans@onramp.net





Date: Sun, 19 Feb 1995 02:10:03 -0400
From: Stamm@aol.com
Subject: Re^2: What's OrigamiUSA? A mail order place?

OrigamiUSA was formerly called "The Friends of the Origami Center of America"
or "Friends."  Last June at the convention in NYC it was decided to change
the name to OrigamiUSA.

OrigamiUSA is a national (US) Origami Club based out of the Museum of Natural
History in NY.  The do have a mailorder service and a newsletter and a very
big convention in June.

Micael Shall who passed away recently and was the subject of so much
wonderful e-mail was one of the founding members of the "Friends" (along with
Lillian Oppenhiemer and Alice Gray).

Tom Stamm





Date: Sun, 19 Feb 1995 19:59:33 -0400
From: Steve Vinik <z007169b@bcfreenet.seflin.lib.fl.us>
Subject: Low tech origami

My name is Steve Vinik and I just blundered into the origami mail list
much like Alice Through the Looking Glass. (I guess a computer monitor is
a sort of looking glass!)

I'm afraid you guys have passed me on the origami road to complexity. I
learned the art from a Japanese Episcopal priest over 30 years ago. The
waterbomb and the crane were my stock in trade. Over the years, I've
acquired many origami books and I no longer consider myself an "expert."
There are too many folds I've given up on.

The joy of simple folds still intrigues me. At an office Christmas party
last year, I regaled the table with a selection of simple folds. I've
concocted two progressive story telling folds, one based on the story
"How Charley Bought His Boat" in Murray and Rigney's "Paper Folding for
Beginners" and one that was published by the Friends of the Origami
Center that was called "The Fourth Little Pig." These stories are magic
with any age group--but especially with children.

I guess I admire the technological marvels with their wet fold techniques
but I cherish the elegant simplicity and imagination of the simple folds.
Just like I prefer the sound of a folk guitar. Anyway, it's nice meeting
you all in my electronic mail box. May the folds be with you!

Steve Vinik
z007169b@bcfreenet.seflin.lib.fl.us

"Have a frabjous day!" as Alice would say
through her looking glass.





Date: Sun, 19 Feb 1995 22:34:30 -0400
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: Low tech origami

>The joy of simple folds still intrigues me. At an office Christmas party
>last year, I regaled the table with a selection of simple folds. I've
>concocted two progressive story telling folds, one based on the story
>"How Charley Bought His Boat" in Murray and Rigney's "Paper Folding for
>Beginners" and one that was published by the Friends of the Origami
>Center that was called "The Fourth Little Pig." These stories are magic
>with any age group--but especially with children.
>
>I guess I admire the technological marvels with their wet fold techniques
>but I cherish the elegant simplicity and imagination of the simple folds.
>Just like I prefer the sound of a folk guitar. Anyway, it's nice meeting
>you all in my electronic mail box. May the folds be with you!
>
>
>Steve Vinik

Steve -

        A pleasure to "meet" you as well!  Don't feel like you've missed
out on anything so special by having "given up" on many complex models!  As
a folder who has been at the "complex" level for many years, let me assure
you that simple folders have a somewhat more intriguing perspective of
origami!

        As one who spends a great deal of time with paper trying to invent
new models (which I try and do from a logical and aesthetic point of view,
not a mathematical one), allow me to say that, personally, while I'm
moderately good at creating difficult models, I am really very poor at
creating simple ones!  In fact, to this day, I don't think I've invented
even _one_ truly simple model, and only a very, very few that are, shall we
say, low intermediate.  Whereas the complex models strive for realism in
their subjects, simple models usually forego -- perhaps we could say
surpass -- this requirement, and instead are content to _imply_ their
subjects, rather than match them perfectly!  In many ways (and certainly
_all_ of them, from my own point of view!), this is more difficult to
accomplish, and thus more difficult to create!

        And, on top of that, simple models have the advantage that they're
easy to learn and easy to teach, both in a short period of time (I once
spent 8 hours teaching 5 people to fold Maekawa's "Devil")!!  8-)

Jerry D. Harris
Denver Museum of Natural History
2001 Colorado Blvd.
Denver, CO  80205
(303) 370-6403

Internet:  jdharris@teal.csn.net
CompuServe:  73132,3372

--)::)>   '''''''''''''/O\'''''''''''`  Jpq--   =o}\   w---^/^\^o

        "I repainted the picture Brown had painted for us.  A dying,
shrinking lake...these great...behemoths...dying..."
        "Well," she said, "all you tell me may be so...but I still can't
see why such creatures would have wanted to do it in the first place."
        "Do what, ma'am?"
        "Why, crawl away back under all that rock to die."

-- Roland T. Bird, _Bones for Barnum Brown_
--)::)>   '''''''''''''/O\'''''''''''`  Jpq--   =o}\   w---^/^\^o





Date: Mon, 20 Feb 1995 00:26:27 -0400
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Reading FTP files...

To Anyone with similar problems -

        Having just accessed the archives for this server -- and the
anonymous FTP site, too -- and having downloaded some of the things for
viewing, I have, unfortunately, discovered that they have been placed into
the sites in some format my Macintosh computer refuses to acknowledge!  For
example, I tried to view the "armadillo.xx" files from the FTP site, hoping
they were diagrams for a model I haven't seen before.  Upon completion of
the downloading, I found that no program I have could read the files
(written with Corel Draw, I believe).  I have a converter program that can
read and translate to Mac-readable files in _every_ conceivable format,
including EPS, JPEG, GIF, and even some formats so obscure that I've never
heard of them...but nothing would open them.  Similarly, when I downloaded
the index and a few of the archive files, nothing would translate them!  I
even have a Mac program that will translate UNIX text and/or uuencoded
files, but that wouldn't touch them, either.

        Is anyone else out there using a Mac, and is there a solution for
this problem?  On top of that, would it be out of line for me to humbly
request that, in the future, all files be uploaded to the FTP site in a
very common format, such as JPEG or GIF for graphics, and plain, simple,
ASCII text for text files?  Or am I doing something terribly wrong?!?

Jerry D. Harris
Denver Museum of Natural History
2001 Colorado Blvd.
Denver, CO  80205
(303) 370-6403

Internet:  jdharris@teal.csn.net
CompuServe:  73132,3372

--)::)>   '''''''''''''/O\'''''''''''`  Jpq--   =o}\   w---^/^\^o

        "I repainted the picture Brown had painted for us.  A dying,
shrinking lake...these great...behemoths...dying..."
        "Well," she said, "all you tell me may be so...but I still can't
see why such creatures would have wanted to do it in the first place."
        "Do what, ma'am?"
        "Why, crawl away back under all that rock to die."

-- Roland T. Bird, _Bones for Barnum Brown_
--)::)>   '''''''''''''/O\'''''''''''`  Jpq--   =o}\   w---^/^\^o





Date: Mon, 20 Feb 1995 02:11:51 -0400
From: Origamiist@aol.com
Subject: Re: Reading FTP files...

I had the sme problem. I think you need something called BinHex 5.0. In order
to put mac files on non mac servers they are converted to a different format
and have to be converted back. I'm not sure if the ftp site for this server
has it but you can check. although you probably need binhex to convert it
(catch 22). I got mine from AOL. maybe someone else on the list knows where
else to pick it up.
-vern





Date: Mon, 20 Feb 1995 07:59:21 -0400
From: chee.tang@eng.ox.ac.uk (Chee Tang)
Subject: Re: Reading FTP files...

> From origami-l@nstn.ca Mon Feb 20 06:12:21 1995
> Date: Mon, 20 Feb 1995 02:11:49 -0400
> Reply-To: origami-l@nstn.ca
> Originator: origami-l@nstn.ca
> Sender: origami-l@nstn.ca
> From: Origamiist@aol.com
> To: Multiple recipients of list <origami-l@nstn.ca>
> Subject: Re: Reading FTP files...
> X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
> Content-Length: 407
>
> I had the sme problem. I think you need something called BinHex 5.0. In order
> to put mac files on non mac servers they are converted to a different format
> and have to be converted back. I'm not sure if the ftp site for this server
> has it but you can check. although you probably need binhex to convert it
> (catch 22). I got mine from AOL. maybe someone else on the list knows where
> else to pick it up.
> -vern
>

There is an ftp archive "reading" program for the macintosh called "Fetch".
It will transfer files to and from an archive in the usual mac formats: binhex,
cpt, stuffit, etc. However, I'm not sure if you also need the
     compression/decompression programs on your machine as well. You can get
     this program at the University of Michigan Mac ftp archive.

Hope this is useful to you.

Chee Fai.

Chee Fai Tang
Dept. of Engineering Science
Oxford University
U.K.





Date: Mon, 20 Feb 1995 10:50:27 -0400
From: James Coleman <jamesc@s3dub.ie>
Subject: Re: Reading FTP files...

Just a note on postscript files: they can be sent straight to a postscript
printer, so they are ideal if you have (or have access to) one of these.
They contain no nasty encoding, so can be sent directly via email.
They're not really designed for viewing on monitors, but you can get
various utilities which will translate and display them on screen.

James Coleman (Innealtoir Dearradh Bogearrai)
bye :)





Date: Mon, 20 Feb 1995 08:26:01 -0400
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: Reading FTP files...

>         Is anyone else out there using a Mac, and is there a solution for
> this problem?  On top of that, would it be out of line for me to humbly
> request that, in the future, all files be uploaded to the FTP site in a
> very common format, such as JPEG or GIF for graphics, and plain, simple,
> ASCII text for text files?  Or am I doing something terribly wrong?!?
>
I never asked your question. Well, actually I did and was told that
postscript files are universal. I have no idea what that means. I use a IBM
clone and was eventually able to find a program that would let me view the
postscript files at the archive. Jpeg, gif, pcx or a host of others would
certainly make life simpler for me, but I am sure there must be a good
reason why postscript is used. Now, anyone out there know why postscript is
used?
----
ackerman@dorsai.dorsai.org
sheldon.ackerman@nycps.nycenet.edu





Date: Mon, 20 Feb 1995 14:49:02 -0400
From: pdc@lunch.engr.sgi.com (Paul Close)
Subject: Re: Reading FTP files...

> >         Is anyone else out there using a Mac, and is there a solution for
> > this problem?  On top of that, would it be out of line for me to humbly
> > request that, in the future, all files be uploaded to the FTP site in a
> > very common format, such as JPEG or GIF for graphics, and plain, simple,
> > ASCII text for text files?  Or am I doing something terribly wrong?!?
>
> I never asked your question. Well, actually I did and was told that
> postscript files are universal. I have no idea what that means. I use a IBM
> clone and was eventually able to find a program that would let me view the
> postscript files at the archive. Jpeg, gif, pcx or a host of others would
> certainly make life simpler for me, but I am sure there must be a good
> reason why postscript is used. Now, anyone out there know why postscript is
> used?

The nice thing about Postscript is device-independence.  As an example, I
have converted postscript to GIF in the past with good success.  I thought
about making these images available, but the problem is what resolution?
They look good on my monitor at 1000 pixels tall.  But on a printer, at
300 dpi, that's very tiny, and 3000 pixels tall would look better.  Printers
aside, at home I use 800x600, and the 1000 pixel images would be too large.

If there's any consensus, I'd be happy to convert the postscript to GIF and
make the images available.  Given the detail of the drawings, though, it's
not really practical to make the images much smaller than the 1000 pixels
height I mentioned....  The question is, would that be useful to you?

Gif is friendlier for www pages too :-)
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Mon, 20 Feb 1995 15:04:41 -0400
From: chee.tang@eng.ox.ac.uk (Chee Tang)
Subject: Re: Reading FTP files...

...edited...

>
> The nice thing about Postscript is device-independence.  As an example, I
> have converted postscript to GIF in the past with good success.  I thought
> about making these images available, but the problem is what resolution?
> They look good on my monitor at 1000 pixels tall.  But on a printer, at
> 300 dpi, that's very tiny, and 3000 pixels tall would look better.  Printers
> aside, at home I use 800x600, and the 1000 pixel images would be too large.
>
> If there's any consensus, I'd be happy to convert the postscript to GIF and
> make the images available.  Given the detail of the drawings, though, it's
> not really practical to make the images much smaller than the 1000 pixels
> height I mentioned....  The question is, would that be useful to you?
>
> Gif is friendlier for www pages too :-)
> --
> Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/
>
>                No fate but what we make
>
>
Hi Paul,

What program do you use to convert postscript to GIF. We've got CorelDRAW and
     MacDraw PRO in out research group, but I still can't figure out how to
     view the postscript files in the archives.

Help...?

Thanks..

Chee Fai.

Chee Fai Tang
Dept. of Engineering Science
Oxford University
U.K.





Date: Mon, 20 Feb 1995 15:13:17 -0400
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: Reading FTP files...

> The nice thing about Postscript is device-independence.
> If there's any consensus, I'd be happy to convert the postscript to GIF and
> make the images available.

I don't know how many individuals subscribe to this list but I'd be curious
to know how many have actually gone to the archive and been able to view
some of the postscript files. Personally, my Canon InkJet is not a
postscript printer. I did find a program called Ghostscript which allows me
to view and print these files, but it is no easy task. Any format that one
usually finds clipart is certainly easier for me.

So how many of you out there can actually view those files and have actually
done so?

--
Sheldon Ackerman
ackerman@dorsai.dorsai.org
sheldon.ackerman@nycps.nycenet.edu





Date: Mon, 20 Feb 1995 15:28:31 -0400
From: GD_ROPPENHEI@fair1.fairfield.EDU
Subject: A MICHAEL SHALL MEMORY

        On Tuesday February 14, 1995 I attended a storytelling swap, with a tin
     of
homemade oatmeal chocolate chip cookies and a piece of newspaper to tell a
story for Michael. I adapted "The Captains Shirt". The story and the cookies
were well recieved, and afterwards a friend wrote me this note.
        "I know who Michael Shall was. He used to come to New Canaan Library
all the time. I talked to him once; thought I could get him to come over
to West School but never did. He was a miracle worker. He could take a room of
50 kids, engage them and they would all have something to take home with them.
He was young. What a fitting tribute you gave him."





Date: Mon, 20 Feb 1995 15:31:04 -0400
From: pdc@lunch.engr.sgi.com (Paul Close)
Subject: Re: Reading FTP files...

> Hi Paul,
>
> What program do you use to convert postscript to GIF. We've got CorelDRAW
> and MacDraw PRO in out research group, but I still can't figure out how to
> view the postscript files in the archives.

I use a PostScript interpreter called GhostScript, by the Free Software
Foundation (aka GNU).  It will output the files in various image formats,
which I then process into GIF.
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Mon, 20 Feb 1995 15:33:42 -0400
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Reading FTP files...

On Mon, 20 Feb 1995, Jerry D. Harris wrote:

>         Having just accessed the archives for this server -- and the
> anonymous FTP site, too -- and having downloaded some of the things for
> viewing, I have, unfortunately, discovered that they have been placed into
> the sites in some format my Macintosh computer refuses to acknowledge!  For
> example, I tried to view the "armadillo.xx" files from the FTP site, hoping
> they were diagrams for a model I haven't seen before.  Upon completion of
> the downloading, I found that no program I have could read the files
> (written with Corel Draw, I believe).  I have a converter program that can
> read and translate to Mac-readable files in _every_ conceivable format,
> including EPS, JPEG, GIF, and even some formats so obscure that I've never
> heard of them...but nothing would open them.  Similarly, when I downloaded
> the index and a few of the archive files, nothing would translate them!  I
> even have a Mac program that will translate UNIX text and/or uuencoded
> files, but that wouldn't touch them, either.

Hi, Jerry. Love your dinos. 8)

Anyway, as the originator of the "armadillo.xx" files in quesstion, I
guess I should respond. James Coleman was right. Postscript files are
meant to be output files. That is, they are designed to be sent to an
output device capable of accepting Postscript (such as a Postscript
printer). They are not intended for on-screen display. However, as
Sheldon Ackerman (sp?) noted, there are various utilities (most notably
Ghostview) which allow a user to view Postscript files on-screen.

And yes, Jerry, the armadillo is probably a model you haven't seen before.

Joseph Wu      <jwu@cs.ubc.ca> | Witty quote is now back to the
Master's Student               |   drawing board due to squeamish
University of British Columbia |   readers. Any suggestions?
WWW: http://www.cs.ubc.ca/spider/jwu/origami.html (Origami Page)
