




Date: Tue, 11 Apr 1995 14:12:37 -0300
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: Re: your mail

You (DEWEY.D.M%wec@dialcom.Tymnet.COM) wrote:
>
>         This request may seem a little out of season, but its only
>      approximately 250 shopping days until Christmas, so-...
>      I am trying to relocate the instructions for on origami nativity set
>      that I made around (it seems like only yesterday) 20 years ago. The
>      models, which I guess would be considered intermediate level, came
>      from a large (200 to 300 page) hardbound book that I borrowed from a
>      library in New Jersey. I made the set out of foil and it turned out
>      very nicely. But now it is beginning to show its age, so I'd like to
>      try it again if I can relocate the instructions. If anyone could help
>      I would appreciate it.
>
>                                                 Thanks,
>                                                 Dave Dewey

There is a book called Origami for Christmas by Chiyo Araki.  I am not
sure if this is the book you are looking for because it is only 148
pages, but it is a hardbound book though.  Here is the description of the
book:

LC Call Number: TT900.C4 A7 198
Author: Araki, Chiyo.
Title: Origami for Christmas / Chiyo Araki ; introduction by
       Lillian Oppenheimer ; arrangements by Kunio Ekiguchi ;
                      [photographs by Akihiko Tokue].

Edition: 1st ed.
Publication Info: Tokyo ; New York : Kodansha International Ltd. ; New
                  York : Distributed ... through Harper & Row, 1983.
Phys. Description: 148 p. : ill. (some col.) ; 31 cm.

Later,
--
------------------------------------+------------------------------------------
                               Yusri Johan
                      Georgia State University
                       Psychology & Communication
                  http://www2.gsu.edu/~gs01yyj/home.html
        Origami Page: http://www2.gsu.edu/~gs01yyj/origami/origami.html





Date: Tue, 11 Apr 1995 14:28:42 -0300
From: Doug Philips <dwp+@transarc.com>
Subject: Tessellation lovers URLs.

For those of you who enjoy geometry and origami, as in Chris Palmer's and
Tom Hull's tessellation foldings, or who like unit folding into geometric
shapes, or if you just like neat pictures, check out the following URLs.

The Geometry Center Welcome Page
http://www.geom.umn.edu/

John Mount's home page
http://www.cs.cmu.edu/Web/People/jmount/homepage.html

Yoshiaki Araki@sfc
http://cs1.sfc.keio.ac.jp/~t93827ya/index.html

Enjoy.
-Doug
P.S.  You'll find that those pages reference each other... So there is
effectively only one pointer here, don't get too excited. ;-)





Date: Tue, 11 Apr 1995 15:05:16 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: BARF Information

Here's what it says in the BARF newsletter:

Bay Area Rapid Folders (BARF) meets the first Saturday of every month,
2:00-4:00 PM, at the Bernal Heights Library, 500 Cortland Ave, S.F.

All skill levels welcome.

For more information, call Kayo Kurata, (415)664-2830.

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: Tue, 11 Apr 1995 15:25:48 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Nasty Adhesives.

On Tue, 11 Apr 1995, Doug Philips wrote:

> One alternative that comes to mind is
> backcoating.  I have never tried backcoating, but I know there are some
> readers of this list who have.  Perhaps some of them will step forward and
> talk about how well backcoating works with foil and tissue.  Perhaps tissue
> is just too thin/unsubstantial to hold the backcoating without turning to
> mush?  What about the foil/Unryu possibilities as an alternative?

The problem with trying to backcoat foil and tissue together is that
backcoating typically involves paste (either a wheat or rice flour-based
paste, or something like methyl cellulose). Paste works by partially
soaking into the fibres of the papers that are being backcoated together.
Smooth surfaces, such as metal foil, do not soak up the paste and therefore
cannot make a permanent bond. In fact, people often backcoat paper onto a
smooth surface such as finished wood, metal, or glass (I use a large sheet
of plexiglass) so that the finished paper will dry flat, knowing that the
paper can be easily peeled from the surface since the paste won't stick to
it.

Typically, backcoating is done with papers with longer fibres such as washi
(a generic term for Japanese handmade paper). I usually backcoat a sheet
of unryu to a sheet of another type of washi. Tissue does tend to turn to
mush, but it can be backcoated, provide you are careful enough with it.

Tissue foil can be made with any thin, soft paper and foil, and I have done
things like foil/unryu combinations. I used 3M spray adhesive for it. It
does work best, but I've also had good results with other brands of spray
adhesive. In any event, I much prefer working with a good sheet of
backcoated paper to tissue foil these days.

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: Tue, 11 Apr 1995 16:07:21 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: BlackDevil Angler

> I am doing this from memory. I started the model the other day. If the step
> you are referring to is the first step at the top of a page...
> You are in a sense peeling the paper and turning it inside out. Let the top
> layer of the model open almost completely so that you can do this step. Then
> look at the diagram and get the model to look the way it should. Again you
> are in a sense reversing the paper.

OK, so I have a bad memory! I was describing step 9 :-)
I got home grabbed the book and continued folding. Got up to Step 35--some
more trapped paper. That was no problem, though. Got up to step 39. I am 99%
sure that the folds shown to get from 39 to 40 are wrong. Shouldn't the
valley folds go completely across the paper, and the only mountain fold be
the horizontal diagonal???
I see what your problem is. I have the same one--how to get from 42 to 43...
Hmmmm...

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





Date: Tue, 11 Apr 1995 16:15:52 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: Paperfolding cartoon characters

>
> If you don't know what I'm talking about, call your local Fox station
> and ask when the show is on in your town.  Not since Bugs Bunny baked
> a cake for the Sheriff of Nottingham has such unhinged lunacy been
> brought to the screen.
>
>       -- jeannnine
>
>
To Jeannnine:
If you would leave your internet address I would have written to you in
private. If you can use Netscape or Mosaic, do a search on Animaniacs.
You'll just love what you find out there.

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





Date: Tue, 11 Apr 1995 16:26:54 -0300
From: "Andrew P. Anselmo" <anselmo@ERXSG.rl.plh.af.mil>
Subject: diagrams for convention; when are they due?

Hi all-

I've been thinking about putting some of my $-bill creations
in the convention book, so those who are not connected to the
'net can see what I've been working on.  Does anybody know
when they are due? (or have I passed the submission date?)

Does anyone see a problem in putting the diagrams in the
convention book?  Am I taking up valuable space by submitting
my 5-6 $ bill diagrams?  Surely there is a limit to how many
one should submit!

Sorry I won't be there folks.  Got to be in The Hague for the
ICCG International Crystal Growth Convention, and some lab
visits in Germany.  Perhaps my diagrams will hold my place...

A.

--
------------------ Andrew P. Anselmo - NRC Research Associate -----------------
anselmo@erxsg.rl.plh.af.mil                     Rome Laboratory RL/ERXE
Voice:617-377-3770, 617-377-4841                80 Scott Drive (Bldg. 1128)
  Fax:617-377-7812, 617-377-5041                Hanscom AFB, MA 01731-2909, USA
-------------------------------------------------------------------------------
           OFFICIAL U.S. GOVERNMENT SYSTEM FOR AUTHORIZED USE ONLY

DO NOT DISCUSS, ENTER, TRANSFER, PROCESS, OR TRANSMIT CLASSIFIED/SENSITIVE
NATIONAL SECURITY INFORMATION OF GREATER SENSITIVITY THAN THAT FOR WHICH THIS
SYSTEM IS AUTHORIZED. USE OF THIS SYSTEM CONSTITUTES CONSENT TO SECURITY
TESTING AND MONITORING. UNAUTHORIZED USE COULD RESULT IN CRIMINAL PROSECUTION.





Date: Tue, 11 Apr 1995 16:39:44 -0300
From: Anita Reinehr <ali@albemarle.aero.org>
Subject: Re: Nativity set

----- Begin Included Message -----
This is Robert Harbin's book, "Secrets of Origami".
Out of print, though I'm sure a library would carry it.  Mine does.

BoneFish
----- End Included Message -----
I found this book in a used book store at the end of last year. That
may be another place to look for the book.

Anita





Date: Tue, 11 Apr 1995 20:18:06 -0300
From: jdharris@teal.csn.NET (Jerry D. Harris)
Subject: Re: Cutting Techniques

>I would like to hear from y'all how you prefer to cut paper and whether
>anyone else takes as long as me ;-)
>
>Regards,
>
>Jeff Tolmie

Jeff et al -

        The only time I have to cut paper square is when I'm making tissue
foil.  For that, I've got a series of square templates of a thick,
non-corrugated cardboard of various sizes, which I can just plunk and tape
down to the tissue foil, and cut around the edge with an X-acto knife.
Very quick!

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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Wed, 12 Apr 1995 00:38:43 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.COM>
Subject: Cutting Techniques

When people ask me how I obtain such long appendages on my models, I
usually reply, "I started with an innacurrate square." Seriously, I do have
a much greater tollarance for poorly cut squares than most people. When I
do desire more accuracy than usual, I try to tear the paper rather than cut
it. The rationale is that I can fold much straighter than I can cut, so I
will tear along the creases that I have folded. I also sometime begin
folding my model before I have trimmed all of the sides. While this might
sound silly, the end result is that the effect of any resulting innacuracy
is minimized.

Marc Kirschenbaum





Date: Tue, 11 Apr 1995 20:16:41 -0300
From: jdharris@teal.csn.NET (Jerry D. Harris)
Subject: Re: Favorite Books

>Could some kind soul send me the the ISBN numbers for the following
>books:-
>
>Engel - Folding the Universe.
>
>Montroll        - Origami Sculptures
>        - North American Animals in Origami
>        - Birds in Origami

Engel's book:  ISBN 0-394-75751-3    -- this is the first edition; I
understand it's recently been rereleased, and thus may have a different
number now.

Montroll:  Sculptures:  ISBN 1-877656-00-3     -- again, for the first edition.
                 NA Animals:  ISBN 0-486-28667-3
                 Birds:  ISBN 0-486-28341-0

>Does anyone know of a place in the USA where said ISBN number
>and my credit card would suffice to get the books posted here?

        I don't know how this works, but the Tattered Cover, located just
scant blocks from me here in Denver, Colorado, is one of the nation's
largest bookstores.  They've got a toll-free number (1-800-833-9327), and
can also be reached via e-mail:  books@tatteredcover.com   .  I'm assuming
that you can probably order from them either way.  They've got a fax #,
too; let me know if that'll help.  They can, and will, get almost anything!
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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Wed, 12 Apr 1995 00:58:24 -0300
From: jdharris@teal.csn.NET (Jerry D. Harris)
Subject: Re: Nasty Adhesives.

>This seems awfully cavalier to me.  Perhaps constant exposure to chemicals
>desensitizes you to possible effects, but I don't think you can be too
>careful about these things!  Even you mentioned taking the necessary
>precautions.

        Well, I most certainly wasn't trying to be cavalier about anything,
nor dismiss the _potential_ harmeful effects!  I regret that that was how
my message came across.  I simply meant that the postings on the can are
there, yes, to inform, but required by OSHA and the laws to prevent
possible lawsuits.  The warnings describe the _possible_ harmful effects --
the original posting to which I responded was from someone who announced
that, after reading the warning label, were absolutely never, ever going to
use spray mount.  What I intended with my initial response was that this
really is going overboard:  the listing on the label of the potential
effects most certainly does _NOT_ mean that _IS_ what is going to happen if
one uses the product!  Only if you use it stupidly and improperly -- the
antonymical of which is to be careful when you use it, which of course
requires a well-ventilated area.  If one _does_ take the necessary safety
precautions -- which one ought never take for granted -- then use of the
product is perfectly safe.  With the introduction of products like the 3M
Super 77, which are CFC-free, the products are even relatively
environmentally safe.

>First of all, we're talking about GLUE.  Do you really want this stuff in
>your lungs?  You can't use "Goo Gone" in there, you know :-)

        Of course not.  Hence the recommendation of a well-ventilated area.
Inevitably, truly miniscule portions will probably end up getting inhaled,
but compared to what is dumped in the air _anyway_ as pollution, it
probably isn't a big deal.  All I ask is that people realize that the human
body isn't quite as fragile as it may seem:  our immune systems _know_ how
to deal with small quantities of alien agents, and dispose of them
properly.  It's when we deal with _large_ quantities of these things that
the potential dangers become truly significant.

>Second of all, many of these things use really nasty solvents.  Aside from
>Origami, I also make plastic models, and people are always relating the
>dangers of paint fumes.  There are cases of hobbyists dying from accidently
>inhaling the wrong fumes.  Paint solvents atomized (like an airbrush) are
>probably the worst, but I would think spray-on glue was still pretty bad.

        Paint fumes -- and worse, paint thinner/solvent fumes -- are indeed
very bad.  Whenever we use them around our lab, we do require the use of
gloves and a respirator -- gloves because most paint thinner/solvents
contain acetone, toluene, and xylene, the latter two of which are very
potent organic solvents, and are quite nasty to have on you.  If you are
going to be working with these kinds of chemicals, by all means get the
MSDS (Material Safety Data Sheets) from the manufacturer; they are required
by law to provide them if you ask.  These sheets contain the detailed
information about potential effects in given quantities.  I am sure that
the manufacturer of your particular spray mount would provide MSDSs for the
chemicals in their products if you ask; they probably have 1-800 numbers
which, if not listed on the container, can be obtained from 800 Information
at 1-800-555-1212.  On these, you can see what the government deems harmful
amounts, and what amounts are contained in the product, as well as what the
effects are, how they are obtained, and what can and should be done, as
well as preventative measures.

>What I use for airbrushing is a respirator good for organic fumes (not the
>"medical style", which is just for dust -- this looks like a gas mask), and
>enclosed goggles.  What can it hurt?  Like they say, "if you have a $10 head,
>get a $10 helmet" :-)

        I've got several respirators:  simple dust masks for large
particulates -- this I use if I'm just airscribing rock or plaster, and
chunks are flying off; I use it so the bits don't get in my nose and mouth!
I've got another, "gas mask" "Darth Vader-esque" one with replaceable
cartridges suitable for microfine particulates, which I use when grinding
rock, plaster, and other things, like solid polyester resins, which are
really nasty to inhale and have cake up in your lungs, potentially causing
silicosis and a plethora of other incurable conditions.  Last, I use a
heavier "gas mask" style one with replaceable cartridges designed for
organic fumes and microfine particulates (if you can smell something,  it's
because of microfine particulate matter wafting into your nose and
triggering the smell organs), which I use when working with liquid
polyester resins, the fumes of which are toxic to breathe.  Cartridges
exist for almost every contingency.  My mask is a very good one, and cost
around $25.  A set of two cartridges will probably run about $5-10, but
last for a long, long time with moderate use and if the mask is kept in a
closed ziploc bag.

        But really, a respirator like this really isn't necessary for spray
mount!  If you're truly worried about it, then make the investment; no
price is too high for peace of mind!  But don't be paranoid; for a product
such as that, just be sure to use in a well ventilated area, and you'll be
fine!  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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Tue, 11 Apr 1995 22:20:00 -0300
From: Eric Tend <eric@hpisdaja.ptp.hp.COM>
Subject: Re: BARF Information

Joseph Wu <jwu@cs.ubc.ca> wrote:

> Here's what it says in the BARF newsletter:

> Bay Area Rapid Folders (BARF) meets the first Saturday of every month,
> 2:00-4:00 PM, at the Bernal Heights Library, 500 Cortland Ave, S.F.

> All skill levels welcome.

> For more information, call Kayo Kurata, (415)664-2830.

Note that these are very informal fold "gatherings" where many of the
key people drive all the way up from Santa Cruz ... so the 2 PM start
time may fluctuate from time to time.

--Eric--

==============================================================================
     ____/__/__/__/__/__/__/ | "Its all in the reflexes"
      __/         __/        |                       -- Jack Burton
_______/__/      __/         |================================================
    __/         __/          | Eric Tend
 ____/__/__/   __/           | eric@hpisdaja.ptp.hp.com





Date: Wed, 12 Apr 1995 00:38:14 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.COM>
Subject: Re:  Diagramming is Phun

Hi David,
To answer your question, I have used scanning software, as well as the
tracing function in Freehand to enhance my diagrams. I would not reccomend
doing it for the most part, as such images are not easily edited. An image
produced by scanning (i.e TIFF format), can not be modified easily (to
spread apart layers, and make minor changes for creating subsequent
diagrams).  Traced images often have too many "points" and have to be
cleaned up a lot.

A neat thing that I did with scanning was to create dollar bill diagrams
that featured the actuall markings of a dollar bill. I will post many of my
diagrams soon.

Marc Kirschenbaum





Date: Wed, 12 Apr 1995 03:48:18 -0300
From: Jeffrey.z.h.t.o.f.Tolmie@zhflur.ch.ubs.ch
Subject: Re: Favorite Books

Thanks for all the responses.

Does somebody have Dover's address, phone, fax etc. I will try
ordering from them directly ( and can finally get my hands on a
catalogue from them.)

It is interesting to note that all the responses so far have been for
Lang and/or Montroll books. What about the japanese authors?
I have the out-of-date oribooks.zip that was mentioned. I can use
that as a reference, but would like to know what your personal
experiences have been.

Regards,

Jeff

Jeffrey.Tolmie@zhflur.ubs.ubs.ch





Date: Wed, 12 Apr 1995 00:39:19 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.COM>
Subject: new questions, USS Enterprise & spray adhesive

I have more information on the "Batman" and "Joker" models. After stopping
by OrigamiUSA's home office, I looked through the records, and found the
creator of these two models to be Gabriel Alvarez.

Marc Kirschenbaum





Date: Tue, 11 Apr 1995 21:16:40 -0300
From: pdc@lunch.engr.sgi.COM (Paul Close)
Subject: Re: Nasty Adhesives.

> >Having read the warning labels on the adhesives, and from reading the
> >messages in origami-l, I find the danger/caution/precautions of spray
> >adhesive unacceptable.
>
>         The warnings there are primarily for legal reasons; unless you
> actually set out to purposefully inhale vast quantities of anything
> aerosol, you're not going to be harmed -- especially if you do it in a
> well-ventilated area!  I work in a lab full of chemicals and constant
> chemical fumes, with a good ventilation system, and the only time anyone's
> had cause to complain was when they _weren't_ taking the necessary
> precautions.  Some of our chemicals require the use of gloves and a
> respirator and a fume hood, but even then I've been around them unguarded
> with no ill effects.  (Well, no _short_term effects!  8-)  )  As long as
> you use the spray mount near an open window or outside, you'll be just fine
> and dandy!

This seems awfully cavalier to me.  Perhaps constant exposure to chemicals
desensitizes you to possible effects, but I don't think you can be too
careful about these things!  Even you mentioned taking the necessary
precautions.

First of all, we're talking about GLUE.  Do you really want this stuff in
your lungs?  You can't use "Goo Gone" in there, you know :-)

Second of all, many of these things use really nasty solvents.  Aside from
Origami, I also make plastic models, and people are always relating the
dangers of paint fumes.  There are cases of hobbyists dying from accidently
inhaling the wrong fumes.  Paint solvents atomized (like an airbrush) are
probably the worst, but I would think spray-on glue was still pretty bad.

What I use for airbrushing is a respirator good for organic fumes (not the
"medical style", which is just for dust -- this looks like a gas mask), and
enclosed goggles.  What can it hurt?  Like they say, "if you have a $10 head,
get a $10 helmet" :-)
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Tue, 11 Apr 1995 20:51:41 -0300
From: jmarcoli@strata.COM (John Marcolina)
Subject: Re: Re: Nasty Adhesives.

Hi,
What is Unryu? I'd like to hear more about this backcoating? Was it talked
about before? Why is it used?

John Marcolina
jmarcolina@strata.com





Date: Wed, 12 Apr 1995 00:24:43 -0300
From: JMontroll@aol.COM
Subject: Diagramming Ideas

Dave,

Thanks for you suggestions for using tv camera for diagramming. Actually, I
wasn't really complaining about diagramming and my method is by far the
easiest for me.

Diagramming has nothing to do with photos of each step. If you fold the paper
in half and step 2 looks like a triangle, using computer graphics the
triangle is a solid shade of grey and there is a thin white triangle along
one side, just to represent clearly the layers. Diagrams are only symbolic
representations showing cleanly what is happening. Photos blur everything.

Anyway, the work involved in photographing each step (you mean I actually
have to spend time to fold) and editing it is tremendous! When I diagram,
each drawing is a copy of the previous step with minor changes, and I do it
very quickly.

Let me know when you fold the moose, have fun-   John





Date: Wed, 12 Apr 1995 01:10:50 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.COM>
Subject: diagrams for convention; when are they due?

Presumably you are refering to OrigamiUSA's Annual Collection. There is no
limit to the number of diagrams that you can submit, but there is an
unwritten limit of three models chosen per publication. Unused models are
retained for future publications, and you will receiva a copy of the
publication if you are included. send all submissions to OrigamiUSA, att:
Publications
Marc Kirschenbaum





Date: Tue, 11 Apr 1995 20:26:09 -0300
From: jdharris@teal.csn.NET (Jerry D. Harris)
Subject: Re: Nasty Adhesives.

>Having read the warning labels on the adhesives, and from reading the
>messages in origami-l, I find the danger/caution/precautions of spray
>adhesive unacceptable.

Doug et al -

        The warnings there are primarily for legal reasons; unless you
actually set out to purposefully inhale vast quantities of anything
aerosol, you're not going to be harmed -- especially if you do it in a
well-ventilated area!  I work in a lab full of chemicals and constant
chemical fumes, with a good ventilation system, and the only time anyone's
had cause to complain was when they _weren't_ taking the necessary
precautions.  Some of our chemicals require the use of gloves and a
respirator and a fume hood, but even then I've been around them unguarded
with no ill effects.  (Well, no _short_term effects!  8-)  )  As long as
you use the spray mount near an open window or outside, you'll be just fine
and dandy!

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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Tue, 11 Apr 1995 21:17:45 -0300
From: Joseph Wu <jwu@cs.ubc.CA>
Subject: Re: Info on Origami Tanteidan please

On Wed, 15 Feb 1995,  Anita Reinehr wrote:

> Who produces the Origami Tanteidan newsletter? How much? How often?

The Origami Tanteidan newsletter is produced by the Origami Tanteidan,
naturally! If you're asking for a specific person who does the work, I
don't know. I get mine from Toshi Aoyagi in Toronto...CDN$10/year, if I
remember correctly. I believe that it is possible to get it directly from
the Tanteidan, but I don't have the details.

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: Tue, 11 Apr 1995 22:00:41 -0300
From: Origamiist@aol.COM
Subject: Adhesives

I think I might have the answer as far as safe adhesives go. (unfortunately I
think it is expensive)
I work in an advertising agency (sorry) and we use an adhesive on a sheet.
there are 2 kinds:
First is a 3M product. I have worked with the stuff for years and can't
remember the name! It is an adhesive on backing sheet on a roll. VERY
EXPENSIVE!! also it adds thickness, but not much. Tends to add a texture to
thin paper. Also you must burnish the adhesive to release microcapsules of
adhesive.

Second is called Twin Tak (not sure of manufacturer). Similar to first but
texture is more consistant (no burnishing) and comes in large sheets. It is
sandwiched betweeen two backing sheets. If any one is interested in more
specific names I will post tomorrow.
Niether of these products has any odor that I could detect and are extrememly
strong.
These items can be found at any store that carries artist materials. Possibly
at crafts shops though I haven't looked for them there. Our company started
using them specifically for safety reasons.
Hope this helps.
-Vern





Date: Wed, 12 Apr 1995 00:57:42 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.COM>
Subject: BlackDevil Angler

Jeffrey,
This might be difficult to visualize, but I will give it a go. At step 43
of Lang's "Blackdevil angler," the hidden white portion of the paper should
resemble part of a Frog-Base. a Frog-Base, as you know, has a small flap on
each side. At step 42, this small flap is tucked away at the cenyer of the
assembly shown. If you pull out at this point, the whie triangle should be
released.
Marc Kirschenbaum





Date: Wed, 12 Apr 1995 04:01:57 -0300
From: Jeffrey.z.h.t.o.f.Tolmie@zhflur.ch.ubs.ch
Subject: Suggestion for the FAQ

What do you all think of the idea of adding a section to the OrigamiL FAQ
for "How do I do this step". I'm sure one of you would be willing to
consolidate the answers, eg:-

Origami Sea Life,  Black Devil Angler, Step 42-43

        .. lots of help for us dodos ..

Another Idea would be a Corrections section for listing mistakes in books
that nasty inconsiderate publishers made to the perfect proofs sent in by
the authors ;-)

We could start a thread here along the lines of "Send in your favorite
misprint"
or "Send in you favorite tricky spot". The answers would be easy to
collate and add to the FAQ?

regards,

Jeff.

Jeffrey.Tolmie@zhflur.ubs.ubs.ch





Date: Wed, 12 Apr 1995 08:59:19 -0300
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: Nativity Set

About nativity set,
        I just remember seeing a nativity set in Samuel Randlett's book
"The Best of Origami: New Models by Contemporary Folders."  It is a
hardbound book and have about 200 pages or more.  This book is out of
print, and I am not sure if you can get your hand on it.  I don't have
any other description for this book.

Later.
Yusri Johan





Date: Wed, 12 Apr 1995 09:12:53 -0300
From: cardiff!vann@uunet.uu.net (V'Ann Cornelius)
Subject: Have you seen this?

----- Begin Included Message -----

This is an actual essay written by a college applicant. The author,
Hugh Gallagher, now attends NYU.

3A. ESSAY: IN ORDER FOR THE ADMISSIONS STAFF OF OUR COLLEGE TO GET TO KNOW
        YOU, THE APPLICANT, BETTER, WE ASK THAT YOU ANSWER THE FOLLOWING
        QUESTION:  ARE THERE ANY SIGNIFICANT EXPERIENCES YOU HAVE HAD, OR
        ACCOMPLISHMENTS YOU HAVE REALIZED, THAT HAVE HELPED TO DEFINE YOU
        AS A PERSON?

I am a dynamic figure, often seen scaling walls and crushing ice. I have
been known to remodel train stations on my lunch breaks, making them more
efficient in the area of heat retention. I translate ethnic slurs for Cuban
refugees, I write award-winning operas, I manage time efficiently.
Occasionally, I tread water for three days in a row.

I woo women with my sensuous and godlike trombone playing, I can pilot
bicycles up severe inclines with unflagging speed, and I cook Thirty-Minute
Brownies in twenty minutes. I am an expert in stucco, a veteran in love, and
an outlaw in Peru.

Using only a hoe and a large glass of water, I once single-handedly defended
a small village in the Amazon Basin from a horde of ferocious army ants. I
play bluegrass cello, I was scouted by the Mets, I am the subject of
numerous documentaries. When I'm bored, I build large suspension bridges in
my yard. I enjoy urban hang gliding. On Wednesdays, after school, I repair
electrical appliances free of charge.

I am an abstract artist, a concrete analyst, and a ruthless bookie. Critics
worldwide swoon over my original line of corduroy evening wear. I don't
perspire. I am a private citizen, yet I receive fan mail. I have been caller
number nine and have won the weekend passes. Last summer I toured New Jersey
with a traveling centrifugal-force demonstration. I bat .400. My deft floral
arrangements have earned me fame in international botany circles.  Children
trust me.

I can hurl tennis rackets at small moving objects with deadly accuracy. I
once read Paradise Lost, Moby Dick, and David Copperfield in one day and
still had time to refurbish an entire dining room that evening. I know the
exact location of every food item in the supermarket. I have performed
several covert operations for the CIA. I sleep once a week; when I do sleep,
I sleep in a chair. While on vacation in Canada, I successfully negotiated
with a group of terrorists who had seized a small bakery. The laws of
physics do not apply to me.

I balance, I weave, I dodge, I frolic, and my bills are all paid. On
weekends, to let off steam, I participate in full-contact origami.

Years ago I discovered the meaning of life but forgot to write it down.
I have made extraordinary four course meals using only a mouli and a
toaster oven. I breed prizewinning clams. I have won bullfights in San Juan,
cliff-diving competitions in Sri Lanka, and spelling bees at the Kremlin.
I have played Hamlet, I have performed open-heart surgery, and I have spoken
with Elvis.

But I have not yet gone to college.

----- End Included Message -----





Date: Wed, 12 Apr 1995 09:14:03 -0300
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: Re: Info on Origami Tanteidan please

>
> On Wed, 15 Feb 1995,  Anita Reinehr wrote:
>
> > Who produces the Origami Tanteidan newsletter? How much? How often?
>
> The Origami Tanteidan newsletter is produced by the Origami Tanteidan,
> naturally! If you're asking for a specific person who does the work, I
> don't know. I get mine from Toshi Aoyagi in Toronto...CDN$10/year, if I
> remember correctly. I believe that it is possible to get it directly from
> the Tanteidan, but I don't have the details.
>
For those who are interested in Origami Tanteida, here is the info.  It
has been posted by Martin Gibbs long time ago, so I am going to just put
down what he said here:

"Origami Tanteidan,
Office 112,
Matuedaiichi Building,
2F 5-36-7 Hakusan,
Bunkyou-ku,
Tokyo,Japan

   There have been twenty-something issues already - you can get back
issues, again for 2000 yen for six, if you specify the numbers of the
issues you want."

I don't quite remember when he posted this, but you can always check the
archive ::).

Later.
Yusri Johan





Date: Wed, 12 Apr 1995 10:15:01 -0300
From: casida@ERE.UMontreal.CA (Casida Mark)
Subject: origami Tanteidan

Hi everyone,

Is the Origami Tanteidan newsletter in English?  I would imagine
that it would be in Japanese and hence not be of much use to anyone
who cannot read this language.  Then again, if there are clear
diagrams for interesting models, then, hey why not!?

                               ... Mark
--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          Chemistry Computing Professional             |
|-------------------------------------------------------|
|          B-605 Pavillon principal                     |
|          Departement de chimie          \_____/       |
|          Universite de Montreal         /\0|0/\       |
|          Case postale 6128              | | | |       |
|          Succursale centre-ville        \/   \/       |
|          Montreal, Quebec H3C 3J7    -----"-"----     |
|          Canada                                       |
|-------------------------------------------------------|
|          tel: (514) 343-6111 poste/extension 3901     |
|          e-mail: casida@chimcn.umontreal.ca           |
|          fax: (514) 343-2468                          |





Date: Wed, 12 Apr 1995 10:50:16 -0300
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: Cutting Techniques

>When people ask me how I obtain such long appendages on my models, I
>usually reply, "I started with an innacurrate square." Seriously, I do have
>a much greater tollarance for poorly cut squares than most people. When I
>do desire more accuracy than usual, I try to tear the paper rather than cut
>it. The rationale is that I can fold much straighter than I can cut, so I
>will tear along the creases that I have folded. I also sometime begin
>folding my model before I have trimmed all of the sides. While this might
>sound silly, the end result is that the effect of any resulting innacuracy
>is minimized.
>
>Marc Kirschenbaum

Marc et al -

        Having a slightly inaccurate square really isn't a big deal, and I
use a cute little trick to work around it:

        To tell if the square is inaccurate, fold it in half diagonally.

    A ____________________B
       |                                      |
       |                                      |
       |                                      |
       |                                      |
       |                                      |
       |                                      |
       |                                      |
       |                                      |
       |                                      |
    C ------------------------------D

        Say, for example, that we fold D to A.  If, when D and A are
perfectly aligned, the bisected B and C don't form perfect points --
there's some extra paper on one or both corners.  That is a result of the
paper not being perfectly square.

        But there's a way around this:  instead of using the _corners_ as
guides, use _edges_.  Again fold D to A, but instead of relying on lining
up corners D and A with each other, instead make sure that corner C is
perfectly bisected by lining up edge CD with edge CA.  Corners A, C, and D
should be about perfect, and we've forced the imperfection to center on
corner B.

        Now, unfold the diagonal, and fold the other one, folding corner C
to corner B.  This time, though, don't align edges _or_ corners; instead,
note where the fold line from the other diagonal line you folded ends, and
line up the two ends of that fold line.  By doing this, the imperfect edge
(AB) remains constant (whereas if you lined up the edges as you did last
time, you'd push it back to the opposite edge [BD]).  If you unfold the
paper, you'll see you've got an"X" of diagonal lines.  On two adjacent
corners (C and D), the lines will perfectly bisect the corner angles.  On
the other two (A and B), the lines will fall short of meeting the corners
-- the paper beyond those points is excess, and can be cut off.  If it
isn't too large, though, I generally just leave it, and use the fold lines
to guide later folds.

        Did this make sense at all?

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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Wed, 12 Apr 1995 11:07:39 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Info on Origami Tanteidan please

   Errors-To: listmgr@nstn.ca
   Date: Tue, 11 Apr 1995 21:17:45 -0300
   Errors-To: listmgr@nstn.ca
   Reply-To: origami-l@nstn.ca
   Originator: origami-l@nstn.ca
   Sender: origami-l@nstn.ca
   Precedence: none
   From: Joseph Wu <jwu@cs.ubc.ca>
   X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas

   On Wed, 15 Feb 1995,  Anita Reinehr wrote:

   > Who produces the Origami Tanteidan newsletter? How much? How often?

   The Origami Tanteidan newsletter is produced by the Origami Tanteidan,
   naturally! If you're asking for a specific person who does the work, I
   don't know. I get mine from Toshi Aoyagi in Toronto...CDN$10/year, if I
   remember correctly. I believe that it is possible to get it directly from
   the Tanteidan, but I don't have the details.

   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)

Whoa! Someone posted instructions a while ago about ordering directly
from the Tanteidan (Tom Hull?).  It involved buying yen at your local
bank and mailing them overseas.  The prices, at the then prevailing
exchange rate, were about $20 an issue. At 4 issues per year, this is
a lot more than $10.  Are you getting xerox copies?  Is this legal?
Can I get some too?

While we're at it, does anyone who reads Japanese want to undertake
translation?  I've seen some copies and I can work from the diagrams,
but I'd love to know what they're saying.

        -- jeannine (j9@concentra.com)





Date: Wed, 12 Apr 1995 12:11:48 -0300
From: Martin Gibbs <mrg1001@hermes.cam.ac.uk>
Subject: Re: origami Tanteidan

On Wed, 12 Apr 1995, Casida Mark wrote:

> Hi everyone,
>
> Is the Origami Tanteidan newsletter in English?  I would imagine
> that it would be in Japanese and hence not be of much use to anyone
> who cannot read this language.  Then again, if there are clear
> diagrams for interesting models, then, hey why not!?
>
>                                ... Mark

  The newsletter is indeed in Japanese, but the diagrams are pretty clear
and the models are very good.

  Martin Gibbs.





Date: Wed, 12 Apr 1995 12:40:13 -0300
From: casida@ERE.UMontreal.CA (Casida Mark)
Subject: Origami Tanteidan newsletter

Thank you Martin Gibbs for the info regarding the Origami Tanteidan newsletter:

"  The newsletter is indeed in Japanese, but the diagrams are pretty clear
and the models are very good."

Ever since seeing an article about them in the Origami USA newsletter, I've
been looking forward to learning more about them.  Can you give me a rough
idea of how often I might find model plans in the Origami Tanteidan newsletter?

                                                ... Mark
--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          Chemistry Computing Professional             |
|-------------------------------------------------------|
|          B-605 Pavillon principal                     |
|          Departement de chimie          \_____/       |
|          Universite de Montreal         /\0|0/\       |
|          Case postale 6128              | | | |       |
|          Succursale centre-ville        \/   \/       |
|          Montreal, Quebec H3C 3J7    -----"-"----     |
|          Canada                                       |
|-------------------------------------------------------|
|          tel: (514) 343-6111 poste/extension 3901     |
|          e-mail: casida@chimcn.umontreal.ca           |
|          fax: (514) 343-2468                          |





Date: Wed, 12 Apr 1995 13:05:02 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: diagrams for convention; when are they due?

   Errors-To: listmgr@nstn.ca
   Date: Wed, 12 Apr 1995 01:10:50 -0300
   Errors-To: listmgr@nstn.ca
   Reply-To: origami-l@nstn.ca
   Originator: origami-l@nstn.ca
   Sender: origami-l@nstn.ca
   Precedence: none
   From: Marc  Kirschenbaum <marckrsh@pipeline.com>
   X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas

   Presumably you are refering to OrigamiUSA's Annual Collection. There is no
   limit to the number of diagrams that you can submit, but there is an
   unwritten limit of three models chosen per publication. Unused models are
   retained for future publications, and you will receiva a copy of the
   publication if you are included. send all submissions to OrigamiUSA, att:
   Publications
   Marc Kirschenbaum

Do you mean a limit of three models total, or three models per
submitter?  Also, is the last line of your message your signature, or
are you the person in charge of Publications?





Date: Wed, 12 Apr 1995 13:38:48 -0300
From: Martin Gibbs <mrg1001@hermes.cam.ac.uk>
Subject: Re: Origami Tanteidan newsletter

On Wed, 12 Apr 1995, Casida Mark wrote:

> Thank you Martin Gibbs for the info regarding the Origami Tanteidan
     newsletter:
>
> "  The newsletter is indeed in Japanese, but the diagrams are pretty clear
> and the models are very good."
>
> Ever since seeing an article about them in the Origami USA newsletter, I've
> been looking forward to learning more about them.  Can you give me a rough
> idea of how often I might find model plans in the Origami Tanteidan
     newsletter?
>

They come out six times a year and they tend to "serialise" models over a
few issues.

  Martin Gibbs.





Date: Wed, 12 Apr 1995 13:47:37 -0300
From: pdc@lunch.engr.sgi.com (Paul Close)
Subject: Book Prices (fwd)

This might be a good time to get those origami books you've been thinking
about.  Note even Dover is looking at price increases....

Forwarded message:
> > RE Book News in General
> > >From Janet Wilson Anderson
> >
> > A warning to all the rest of the bookaholics:
> >
> > I been talking recently with a number of publishers and they are all
> > saying the same thing: With the weaker dollar and the rise in paper
> > prices, the price of books is jumping dramatically, especially imported
> > books. So if you've been contemplating certain expensive reference
> > works, BUY THEM NOW! The next runs of Hunnisett's two volumes, for
> > example, we're hearing will be "substantially" higher. Even Dover has
> > been taking up their books with each reprint, and we're seeing 10%-30%
> > increases from them. Hardbacks are facing 20 - 70% price-ups. And that's
> > just the domestic stuff.
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Wed, 12 Apr 1995 13:46:53 -0300
From: pdc@lunch.engr.sgi.com (Paul Close)
Subject: Re: BlackDevil Angler

The step I'm stuck on is step 83, where you're doing the fold that opens the
mouth, and you have to bring paper from behind to the front.  My main
problem is the inside of the model is completely closed!  The only opening
is a tiny hole where the fish's throat would be.  This and a couple sinks
coming up look quite difficult because of this.  Does anyone have any
pointers on this part of the model?

I've been thinking about bending a paperclip and using that, or checking out
some of my old dental tools!

Thanks,
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Wed, 12 Apr 1995 13:54:07 -0300
From: JanetJWH@aol.com
Subject: Re: Suggestion for the FAQ

>> Another Idea would be a Corrections section for listing mistakes in books
that nasty inconsiderate publishers made to the perfect proofs sent in by
the authors ;-)

Jeffrey.Tolmie@zhflur.ubs.ubs.ch
 <<

Jeff,

I have also been considering suggesting a list of errata for origami books,
but had not decided how to bring up the issue without offending any authors!
 I'd like to start the list with one I just found:

Yamaguchi/Origami for Children, Volume 3, Flower Origami
Page 75, step 5.  The model name is in Japanese, but it looks like a sunflower
 with a face.  Step 5 is drawn rotated 180 degrees from where it should be,
given the drawings in the preceeding and following steps.

Janet





Date: Wed, 12 Apr 1995 14:01:19 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: BlackDevil Angler

>
> The step I'm stuck on is step 83, where you're doing the fold that opens the
> mouth, and you have to bring paper from behind to the front.

If you help me with step 43, maybe I'll be able to help you with 83 :-)

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





Date: Wed, 12 Apr 1995 14:09:32 -0300
From: Wadsworth Jeffrey T <jtw8340@usl.edu>
Subject: BlackDevil Angler: yet another problem

Ok, I've gotten past 43 ( it's actually quite simple
once you get the technique ) but have another problem.
I'm going to verbally explain the situation... forgot the book.

We're on the other side of the model now, the one with the valley folded flap
( the other side had the mountain fold into the base ).  Ok, on this side we
are instructed to do the same fold sequence that was done on the front.
Alright, no problem.  That finished, here comes the problem!  How do you
*neatly* get the preliminary base-like fold?  I can't seem to get the
*interior* sides to "sink" ( are they suppose to? ) while at the same time
keeping the aforementioned prelim-base outside flaps intact.  This is a real
problem because later you are suppose to squash fold the sides of the
     prelim-base.
Anyone with a solution?
This step is around the late 60's I think.

Thanks!

BoneFish





Date: Wed, 12 Apr 1995 14:17:33 -0300
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: Suggestion for the FAQ

>
> I have also been considering suggesting a list of errata for origami books,
> but had not decided how to bring up the issue without offending any authors!
On the contrary. I'd say the authors would be thankful for having any errors
pointed out!

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





Date: Wed, 12 Apr 1995 16:06:19 -0300
From: pdc@lunch.engr.sgi.com (Paul Close)
Subject: Re: Cutting Techniques

> The most frustrating part of folding, is cutting the paper. I guess I need
> at least a half hour to cut a perfect square. Since I am eager to begin
> folding, it taxes my patience having to take my time to measure and cut
> correctly. I use a 40cm  metal ruler for cutting, and also as a baseline
> for a draftmans Right angle. I measure the paper size from two adjacent
> sides, and use the right angle to pencil lines at right angles to these
     points.
> Where the lines meet should be the fourth point of the square. It is usually
> about 0.5 mm off. I then have to stuff around measuring the length of
> all four sides, trying to figure out which edge has the error in it.

First of all, I'm pretty tolerant of non-square paper.  As I fold, I "tweak"
the corners that are supposed to be points, and ignore the rest.  I don't
have too many problems with this approach....

Anyway, to get square paper, what I do is fold along one diagonal.  Then I
fold that fold against itself, making a triangle.  Then I measure an equal
amount down each side of the triangle, and cut the edges.

Like so:
     ____       ___
    |   /|     |\  /     |\
    |  / |     | \/      | \
    | /  |     | /       | /
    |/___|     |/        |/
                         ^
    first      second    |
    fold       fold      cut here

This is what I use for cutting wrapping paper, and it works fine for me.
--
Paul Close          pdc@sgi.com          http://reality.sgi.com/employees/pdc/

                     No fate but what we make





Date: Wed, 12 Apr 1995 17:08:32 -0300
From: Wadsworth Jeffrey T <jtw8340@usl.edu>
Subject: Re: BlackDevil Angler

I figured it out.  Open it up and pull out the inside paper which borders
the outside paper, but be careful to keep the outside papers form on the left
side!!  You know, that long verticle triangle on the left.  Ok, now pull
out the triangular wedge that is curled under that horizontal fold in the
     center...
basically, you are turning the inside paper inside-out and folding it over the
     top.
The white side should be a flap with its point at the top of the
original *base*.  I know, my explaination is weird, but it's the general idea.
Once you get the above configuration, make sure that when you fold it over the
     the
right you have *two* layers ( so that it can be squash folded ).
I finally got it after closely scrutinizing the diagram... my mistake was
     allowing
the original left side triangular shape to be unfolded.

Major points:  turn inside paper *inside-out* and fold it over the top!!

Now I'm confused!

BoneFish





Date: Wed, 12 Apr 1995 17:31:22 -0300
From: Doug Philips <dwp+@transarc.com>
Subject: Tricks/Tips for folding point to point.

Thanks to everyone who replied, public or private.  I got the same essential
answer from everyone:
    fold the model in the air, rather than on a surface.
    pinch the endpoints of the crease in the general direction of the crease.
    hold the paper taught at the endpoints and create a soft crease.
    from the soft crease, make a hard crease.

Thanks again to everyone who replied.  As at least one person pointed out,
that was the method I had been using, and I was looking for another one.
I have a few problems with that method:
    When the length of the crease is short (less than 2 inches), the pinches
        tend to overwhelm the process.
    When the length of the crease is 2-6 inchess, this method works OK.  I do
        have trouble with the hard crease "wandering" around in the trough of
        the soft crease though.
    When the length of the crease is more than 6 inches, the soft crease
        itself is too soft, and tends to wander.  The hard crease wandering
        gets even worse.
    If the crease is close to another crease:
            A----------------------------B
            +                            +
            +                            +
            +                            +
            +                            +
            F----------------------------C
            +                            +
            E----------------------------D
        Creasing A to C or D, B to E or F works pretty well.  Creasing F to
        D, or C to E, the CF and DE creases tend to act like the pinches and
        'draw/attract' the new crease near its ends.  (if this makes any
        sense).

Thanks again.  If I come across any other techniques, I'll pass them along.

Doug





Date: Wed, 12 Apr 1995 20:05:06 -0300
From: jdharris@teal.csn.net (Jerry D. Harris)
Subject: Re: Suggestion for the FAQ

>>> Another Idea would be a Corrections section for listing mistakes in books
>that nasty inconsiderate publishers made to the perfect proofs sent in by
>the authors ;-)
>
>Jeffrey.Tolmie@zhflur.ubs.ubs.ch

Jeffrey et al -

        Aside from the numerous errors in the diagrams for my "Gargoyle" in
Ansill's _Mythical Origami_, a noteworthy one is Step 2 of Pat Crawford's
"Mermaid" as seen in the out-of-print _Origami:  A Step-by-Step Guide" by
Robert Harbin.  The diagram is a simple mountain fold, but it absolutely
and in all ways HAS to be a valley fold, or else you'll never get the rest
of the model to work!

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

OOO f the Earth's many creatures, not all did survive.
O   O Only those that adapted are today still alive!
OOO Those that couldn't -- or wouldn't -- are with us no more:
The most famous of these is the great dinosaur!
"Evolution," they call it; a 10-dollar word.
That's how nature, in time, from a fish, made a bird.

                                                -- Martin J. Giff

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





Date: Wed, 12 Apr 1995 20:12:35 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Suggestion for the FAQ

On Wed, 12 Apr 1995, Jerry D. Harris wrote:

>         Aside from the numerous errors in the diagrams for my "Gargoyle" in
> Ansill's _Mythical Origami_, a noteworthy one is Step 2 of Pat Crawford's
> "Mermaid" as seen in the out-of-print _Origami:  A Step-by-Step Guide" by
> Robert Harbin.  The diagram is a simple mountain fold, but it absolutely
> and in all ways HAS to be a valley fold, or else you'll never get the rest
> of the model to work!

Both of Ansill's books are replete with poor diagramming (IMHO). And that
particular Harbin books has a few too...

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)
