




Date: Thu, 1 Jun 1995 16:54:15 -0300
From: AFAAndy@aol.com
Subject: Re: FW: origami that starts with lotus fold

>>>Does any of you know an origami figure that starts by
folding the corners of a square to the center, then folding
the resulting corners to the center, and so on? (For at least
an iteration or two.) <<<

How about Kasahara's roses in Origami Made Easy (pages 70 and 71). They both
start with a blintz and then blintz again.

Andy

P.S. If you don't have the book the ISBN is 0-87040-253-6.





Date: Thu, 1 Jun 1995 17:11:31 -0300
From: ZIBMAN@BINAH.CC.BRANDEIS.EDU
Subject: Origami groups in Boston area

Hi! Can anyone direct me to origami groups in the greater Boston, MA area?
Thanks Nancy Z





Date: Thu, 1 Jun 1995 17:20:48 -0300
From: LIN WALTER <lin6@cooper.edu>
Subject: Re: FW: origami that starts with lotus fold

>
> >Does any of you know an origami figure that starts by
> >folding the corners of a square to the center, then folding
> >the resulting corners to the center, and so on? (For at least
> >an iteration or two.)
> >______________________________
> >Thanks!
> >Lisa Hodsdon
>
> My dad taught me this one.  I think it was the first i ever learned.
> It's a frog like creature.
> You start by folding the corners to the center.
>
> Walter Lin

Oops.  Sorry about this.  I meant to mail it to Lisa directly.  (I guess
this is going to be my second post).  But it did give me a chance to
correct a mistake.  Ignore the "don't turn over." Turn it over.  The rest
seems right.

Walter Lin
lin6@cooper.edu





Date: Thu, 1 Jun 1995 17:49:23 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: FW: origami that starts with lotus fold

   Errors-To: listmgr@nstn.ca
   Date: Thu, 1 Jun 1995 17:20:48 -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: LIN WALTER <lin6@cooper.edu>
   X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas

   >
   > >Does any of you know an origami figure that starts by
   > >folding the corners of a square to the center, then folding
   > >the resulting corners to the center, and so on? (For at least
   > >an iteration or two.)
   > >______________________________
   > >Thanks!
   > >Lisa Hodsdon
   >
   > My dad taught me this one.  I think it was the first i ever learned.
   > It's a frog like creature.
   > You start by folding the corners to the center.
   >
   > Walter Lin

   Oops.  Sorry about this.  I meant to mail it to Lisa directly.  (I guess
   this is going to be my second post).  But it did give me a chance to
   correct a mistake.  Ignore the "don't turn over." Turn it over.  The rest
   seems right.

   Walter Lin
   lin6@cooper.edu

Why apologize? I had fun making it, and I figured out the mistake,
too. It's cute.

        -- jeannine mosely (j9@concentra.com)





Date: Thu, 1 Jun 1995 20:04:16 -0300
From: jdharris@csn.net (Jerry D. Harris)
Subject: Re: FW: origami that starts with lotus fold

>I just received a request for help, but I don't have anything in my
>known repetoire or in any of my "at work" references.
>Anything SIMPLE other than the fortune teller or salt shaker?
>______________________________
>Does any of you know an origami figure that starts by
>folding the corners of a square to the center, then folding
>the resulting corners to the center, and so on? (For at least
>an iteration or two.)
>______________________________
>Thanks!
>Lisa Hodsdon

Lisa -

        The traditional water lily model follows this iterative process nicely.

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

Overheard in the Denver Museum's
old Fossil Mammal Hall, from a mother
to her daugher:

"See there?  That's the camel-dinosaur, and
the horse-dinosaur, and the elephant-dinosaur..."

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





Date: Fri, 2 Jun 1995 01:01:26 -0300
From: jdharris@csn.net (Jerry D. Harris)
Subject: Re: Copyright of origami works?

>You can't actually copyright an origami design, you can only copyright
>the directions for making it.  You can patent the design itself, but
>that costs several thousand dollars in filing fees and legal fees.  My
>father is a patent lawyer, and he once got a patent on an origami
>design of mine as a birthday present.
>

        This is untrue.  I personally copyrighted many of my early models
(although I did include diagrams with them); just call the copyright office
and ask for however many forms you need to be sent to you; it's (or was, at
any rate) $10/copyright.  The process takes forEVER, though, and a couple
of mine got lost in the shuffle.

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

Overheard in the Denver Museum's
old Fossil Mammal Hall, from a mother
to her daugher:

"See there?  That's the camel-dinosaur, and
the horse-dinosaur, and the elephant-dinosaur..."

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





Date: Fri, 2 Jun 1995 02:16:00 -0300
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: sweaty fingers

josh -

Have you tried using something like baby powder, talcum powdeer or cornstarch
on your fingertips before folding? You might want to try it. I would think
though if you were using dark paper, you may leave light colored splotches on
your model.

You might also try working in a room that is rather cool - that will tend to
keep the sweat down (although you may have to wear a sweater to prevent inter-
ference from chattering teeth).

Also - RELAX!!! I think that that is when my hands get really bad, is when I
get too tense and frustrated working on a model. Sometimes you just have to put
     it
down, wipe your hands on your jeans, get a drink of water, loosen your shoulders
and start in again!

Dee





Date: Fri, 2 Jun 1995 03:32:10 -0300
From: jdharris@csn.net (Jerry D. Harris)
Subject: Re: More nit-picking!

Cynthia et al -

        OK, pull up your chairs, folks:  it's lesson time!  8-)  For anyone
who's interested in a little phylogenetics, here's your chance!

        _Dimetrodon_  (and, by the way, that's a scientific name, and like
all scientific names, should be italicized, or, failing that, underlined,
hence the "_" and "_" following the name, indicating the underlines!) is a
pelycosaurian synapsid -- a pelycosaur, for short.  Pelycosaurs are a very
primitive group of synapsid "reptile."  (There's a big movement underway in
the paleontological realm to do away with the term reptile, since, with the
latest in phylogenetic analyses, the term is meaningless, but I will not go
into that here!)  Reptiles, of course, evolved from amphibians, although
just which ones is still a point of contention.  By the way, these
primitive amphibians weren't anything like today's amphibians:  salamanders
didn't evolve until the Jurassic, and frogs were evolving by the Triassic,
but modern ones didn't show until the Jurassic.  Caecilians are an enigma.

        The most primitive reptiles (which evolved in the Early
Pennsylvanian or maybe even Late Mississippian, around 320-325 million
years ago) belong to a group called the anapsids -- so named because they
have no holes in the skull besides the eye hole (orbit) and the nose hole
(the external nares).  Anapsids today are represented solely by turtles,
although turtles themselves didn't evolve from some still conjectural
anapsid ancestor until the Late Triassic, some 225 million years ago.
Anapsids used to be a lot more diverse than they are now, including such
bizarre animals that you've probably never heard of like the pareisaurs and
procolophonids, and others.

        Shortly after the anapsids evolved, one group split off from some
unknown anapsid ancestor.  This group was differentiated from the anapsids
by having an extra hole in the back of the skull, behind the eye socket.
This group is the synapsids.  Synapsids are important because this is the
group of reptiles from which mammals arose.  The earliest known synapsids
are only slightly younger than the first anapsids, so either evolution was
very rapid, the two groups evolved separately (unlikely), or there are
earlier anapsids we don't know from the fossil record.  The earliest
synapsids belong to the caseids, which are strange reptiles with huge
bodies and absurdly tiny heads on very short necks, and strong overbites.
Weird.

        But there were also pelycosaurs.  Some pelycosaurs had sails on
their backs; the reasons are still conjectural.  They started out small,
but got quite big in the Permian, in which _Dimetrodon_ and it's relatives
like _Edaphosaurus_, _Ophiacodon_, _Haptodus_, _Sphenacodon_, and
_Platyhistrix_ lived.  In the Permian, it was a wide variety of synapsid
reptiles that dominated the terrestrial scene, accompanied by some anapsids
and some giant amphibians like _Eryops_.

        The pelycosaurs were extinct by the Triassic, being out-competed by
their descendants, which were more mammal-like than the still very
-lizard-like pelycosaurs.  This new group, collectively called the
therapsids, were a very peculiar group.  For the Early and Middle Triassic,
these were the dominant land animals.  There were herbivores like
dicynodonts and the dinoscephalians (like _Moschops_), and carnivorous
gorgonopsians.  Towards the Middle Triassic, a particularly interesting
group of these reptiles, the cynodonts, appeared -- they're very
mammal-like, and some think they may have even had hair, whiskers, and milk
glands (although they still laid eggs), and may have been warm-blooded.
This is the group that gave rise to mammals in the Late Triassic, around
225 million years ago.  (These mammals still laid eggs, though:  the first
"modern" style mammals, including marsupials and placentals, didn't evolve
until towards the end of the Cretaceous).

        Now let's jump back a minute, to the Early Pennsylvanian, when the
first synapsids appeared.  At the same time, another group stemmed off from
the anapsid stock.  This group had TWO holes behind the eye (well,
actually, one behind the eye, and one on top of the skull behind the eye).
This group is called the (everyone who had Latin jump in here) diapsids.
For the duration of the Pennsylvanian, Permian, and most of the Triassic,
the diapsid group consisted of relatively small animals.  Today, such
simple diapsids are represented by lizards (and snakes, which evolved from
lizards in the Late Jurassic or Early Cretaceous) and rhynchocephalians,
which used to be a diverse, lizard-like group, but today is represented
only by the tuatara of New Zealand.

        Diapsids, as I said, were dominated by the larger synapsids in the
Permian, but at the veeeery end of the Permian, one diapsid did a funny
thing:  it grew another hole in it's skull; this one between the eye socket
and the nose hole.  This new group of reptiles is called the archosaurs.
(Diapsids without this extra hole are the lepidosaurs, which, again, are
lizards, snakes, and tuataras).  Today, archosaurs consist of crocodilians
and birds.  During the Triassic, when the synapsids were getting much more
mammal-like, the archosaurs also probably attained a higher metabolic
level, and began to compete directly with the synapsids.  Some archosaurs
got really big -- the main group of archosaurs are collectively called the
"thecodonts," (but no one's really sat down yet to see how or if all the
animals in this group are really related, so it may or may not be a real
grouping.)

        As the cynodonts got more mammal-like, they bottlenecked and got
quite small (this seems to be a habit of animals evolving rapidly into new
groups...)  Archosaurs stayed larger, and won out in the ecological niche
race.  In the Late Triassic, we see some thecodonts gain some interesting
adaptations, which together define the dinosaurs.  Thus, we can see that
dinosaurs and mammals evolved at the same time in the fossil record!
Mammals just didn't get a chance to shine under dinosaurian domination
throughout the Mesozoic.  The only reason _we_ are here today is by some
cosmic stroke of luck!  (also remember that turtles evolved from some
anapsid line around this time!)

        Also, we can see that _Dimetrodon_ was more closely related to we
humans than it was to any dinosaur!

        On another note, some other things that aren't dinosaurs that are
usually considered to be so are:  plesiosaurs, which probably evolved from
a lepidosaurian ancestor (it's a plain ol' reptile, related to lizards);
ichthyosaurs, which no one is quite sure what to do with, but evolved long
before the thecodonts, and isn't an archosaur; mosasaurs, which evolved
from varanid (monitor) lizards like the Komodo dragon in the Early
Cretaceous and are also lepidosaurs; and, of course, pterosaurs, which
everyone incorrectly calls pterodactyls, which are archosaurs and closely
related to dinosaurs, but most likely sprung off at a point just prior to
dinosaurs from some thecodont ancestor.  Other things you may see, like the
_Kuehneosaurus_ model in Montroll's book, is a lepidosaur, and is basically
a lizard, and not a dinosaur.

        Everyone get that?  Now go fold them all, and help others learn
this stuff!  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

Overheard in the Denver Museum's
old Fossil Mammal Hall, from a mother
to her daugher:

"See there?  That's the camel-dinosaur, and
the horse-dinosaur, and the elephant-dinosaur..."

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





Date: Fri, 02 Jun 1995 07:35:51 -0300
From: Beck Twachtman Hutchinson <HUTCHIB@mail.firn.EDU>
Subject: RE: Not going to Convention? Check this out

Subject: Address

After some big mix-ups on our state net, I am finally able to look at my
messages. Thanks very much for the info on those who are unable to attend
the convention. I'd like to sign up and become a member and be able to take
advantage of the kit. Can you provide the address for becoming a member? I
wonder, also, if there is a contact person, a name, that I can contact
about a situation with the kit. Thanks for your help!! Beck





Date: Fri, 2 Jun 1995 09:56:32 -0300
From: DEWEY.D.M%wec@dialcom.Tymnet.COM
Subject:

     Try ftp://rugis.rug.nl/origami/ for lots of interesting origami info.

______________________________ Reply Separator _________________________________
Subject: Mail from: <origami-l(a)nstn.ca>
Author:  /G=Tymnet-sj/S=Daemon/O=BTNA/ADMD=DIALCOM/PRMD=BTNA-IXGW/C=US at
WEC.BALT.X400
Date:    06/01/95 11:50 AM

From: Stamm@aol.com
Subject: Origami WEB sites
Disclose-Recipients: TRUE

I just got WEB access thru AOL.  Does anybody have a full or parial list of
origami related WEB sites?

Thanks in advance
tom





Date: Fri, 2 Jun 1995 10:10:13 -0300
From: DEWEY.D.M%wec@dialcom.Tymnet.COM
Subject:

     Additional angels can be found in _Secrets of Origami_ by Harbin.
     However, this book is out of print and hard to locate.





Date: Fri, 2 Jun 1995 10:17:34 -0300
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: Annual Collection contents? (was Re: Dinosaur's skeleton)

>>>>> "rjl" == Rjlang  <Rjlang@aol.com> writes:

    rjl> Being of a perverse mind, I devised a one-sheet T. Rex skeleton
    rjl> that was published in the convention '94 program.

    rjl> Being of an equally perverse mind (and an equally competitive
    rjl> nature), Marc Kirschenbaum has also devised a one-sheet T. Rex
    rjl> that I gather will be published in the convention '95 program.

Hi,

This brings to mind a question I've been meaning to ask for a while now.

I've got a copy of "The Origami Source" from OrigamiUSA.  Under
"OrigamiUSA Publications", it lists the annual collections from 1986 to
1994 (except 1987):

Convention '94 Annual Collection - 291 pp. - $25.00
Convention '93 Annual Collection - 350 pp. - $25.00
Convention '92 Annual Collection - 349 pp. - $25.00
Convention '91 Annual Collection - 272 pp. - $25.00
Convention '90 Annual Collection - 316 pp. - $25.00
Convention '89 Annual Collection - 320 pp. - $25.00
Convention '88 Annual Collection - 307 pp. - $20.00
Convention '86 Annual Collection - 133 pp. - $13.00

These are described as follows: "Annual Collections are diverse
collections of models by hundreds of creators worldwide, most previously
unpublished.  Simple to complex."

Can someone give some details as to what models are in each of the
collections?  I guess I'm looking for a "highlights" list; complete
tables of contents would probably be impractical.

Thanks much...

-Tim
--
Tim Rueger             Motorola CCR&D IC Design Laboratory, IL02-2921
Fax  : (708) 538-4593  Internet: rueger@areaplg2.corp.mot.com





Date: Fri, 2 Jun 1995 10:31:48 -0300
From: REEDS@zodiac.rutgers.edu
Subject: origami in the media

For anyone keeping track of origami references in ordinary world, take
a look at the illustrations for the May 22, 1995 PUBLISHERS WEEKLY special
     report on "The New World of Hand Assembly"--book manufacturing in six Asian
countries (p 37 following)-7 origami figures; interesting piece on
manufacturing pop-up books
Karen
KAREN REEDS
Science Editor
Rutgers University Press
109 Church Street
New Brunswick NJ 08901
908-932-8174 FAX-7039
reeds@zodiac.rutgers.edu





Date: Fri, 2 Jun 1995 10:57:44 -0300
From: jnoll@su19bb.ess.harris.com (John Noll)
Subject: Re:

> From origami-l@nstn.ca Fri Jun  2 09:07:58 1995
> Date: Fri, 2 Jun 1995 09:56:43 -0300
> Reply-To: origami-l@nstn.ca
> Originator: origami-l@nstn.ca
> Sender: origami-l@nstn.ca
> From: DEWEY.D.M%wec@dialcom.tymnet.com
> To: Multiple recipients of list <origami-l@nstn.ca>
> Subject:
> X-Listprocessor-Version: 6.0c -- ListProcessor by Anastasios Kotsikonas
> Content-Length: 530
>
>      Try ftp://rugis.rug.nl/origami/ for lots of interesting origami info.
                 ^^^^^
I think that this should be:  ftp://rugcis.rug.nl/origami/

Also A good starting point to look from is:
Origami Home Pages at:
        http://www.cs.utk.edu/~plank/plank/pics/origami/hp.html

from there you can goto many origami places including

Bob Shuster's Page at:
        http://www.netaxs.com/people/rshuster/origami.html
which has a hotlist to origami sites:
        http://www.netaxs.com/people/rshuster/hotlist.html#origami
from which you can choose:
FTP site for Origami related materials at:
        ftp://rugcis.rug.nl/origami/
which has a nice area of models in postscript format that can be downloaded.
I have enjoyed many of the models that I found there.

(I hope this isn't to/two/too confusing to follow.)

< < < < < < < < < < < < < < < < < < < < < < < < < < <
    _/  _/     _/_/_/      John Noll
   _/ _/      _/           jnoll@su19bb.ess.harris.com
   /_/  _/_/ _/_/_/        Palm Bay, Florida /~~\
  / _/            _/                      /\/    \o\_
_/  _/     _/_/_/                        /        \o\\





Date: Fri, 2 Jun 1995 10:58:45 -0300
From: sychen@ENH.NIST.GOV (Shi-Yew Chen \(a.k.a. Sy\))
Subject: Favorite diagram editor?

Hi, everyone,

I am thinking about diagramming some of my origami works using softwares. I
would like to get more suggestions or knacks about this topic. Any
commercial, shareware, freeware, or even your own program are welcome. It
would be better to know some of its pros and cons in your own opinion.
Please name the program and platform you are using for editing.

I know Robert Lang has his own software for his books (?). I don't think it
is 'Treemaker'. Can you clarify this for me, Robert?

Any private mails are welcome too.

Shi-Yew Chen (Sy)
E-Mail - sychen@enh.nist.gov
WWW URL - http://www.iia.org/~chens/syhome.htm





Date: Fri, 2 Jun 1995 11:55:47 -0300
From: John_Morin@transarc.com
Subject: Re: sweaty fingers

Excerpts from mail: 2-Jun-95 ORIGAMI-L digest 32 origami-l@nstn.ca (37158)

> Josh Kifer wrote:
> Anyone else have the problem that when working on a particularly
> difficult and tiny fold, the sweat on your fingers begins to get into the
> paper making it all soggy, causing it to tear a little... i hate this.
> What should I do, put a little fan next to my hands?

Another problem is the natural oils from your hands rubbing off onto the
paper which can streak the paper (especially foil paper) or cause the
paper to pick up dirt more easily. I wash my hands before folding and
will then get up every so often and wash them again. Especially when I
am working on a model I want to display.

On a lighter note, I often teach origami to kids here in Pittsburgh,
usually at festivals. I always cringe when a child with dirty hands
holding a half eaten candy apple, grabs a sheet of paper and starts
folding. And yet, sometimes their finished model doesn't look half bad:
what with the extra texture, wrinkles, and scuff marks added to the
paper and sugar-glue helping hold the folds together combined with a
liberal use of estimated folds :-O.

        - John Morin.
          Morin@Transarc.com
          Vice President: Origami Club of Pittsburgh





Date: Fri, 02 Jun 1995 14:24:11 -0300
From: Joseph Wu <jwu@cs.ubc.CA>
Subject: Re: sweaty fingers

On Fri, 2 Jun 1995 John_Morin@transarc.com wrote:

> > Josh Kifer wrote:
> > Anyone else have the problem that when working on a particularly
> > difficult and tiny fold, the sweat on your fingers begins to get into the
> > paper making it all soggy, causing it to tear a little... i hate this.
> > What should I do, put a little fan next to my hands?
>
> Another problem is the natural oils from your hands rubbing off onto the
> paper which can streak the paper (especially foil paper) or cause the
> paper to pick up dirt more easily. I wash my hands before folding and
> will then get up every so often and wash them again. Especially when I
> am working on a model I want to display.

Of course, if you are working with backcoated washi, if might be to your
advantage to have slightly sweaty fingers. The sweat will slightly
dissolve paste used in the backcoating process, and effectively gives you
the benefits of wet-folding without having to muck about with wet paper!

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, 2 Jun 1995 15:03:18 -0300
From: jdharris@csn.net (Jerry D. Harris)
Subject: Re: Annual Collection contents? (was Re: Dinosaur's skeleton)

>Can someone give some details as to what models are in each of the
>collections?  I guess I'm looking for a "highlights" list; complete
>tables of contents would probably be impractical.

        Yeah, and while they're at it, could someone tell me why there
isn't a  program available for 1985???

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

Overheard in the Denver Museum's
old Fossil Mammal Hall, from a mother
to her daugher:

"See there?  That's the camel-dinosaur, and
the horse-dinosaur, and the elephant-dinosaur..."

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





Date: Fri, 2 Jun 1995 15:11:52 -0300
From: cardiff!vann@uunet.uu.net (V'Ann Cornelius)
Subject: Re:  Annual Collection contents? (was Re: Dinosaur's skeleton)

>
>Can someone give some details as to what models are in each of the
>collections?  I guess I'm looking for a "highlights" list; complete
>tables of contents would probably be impractical.

I have an index of the models in all the Collections except 1986.
I'll have hard copies in the supply Center at the Convention.

The index that has been built includes specifics such as the
shape of the paper used, some of the folds required, difficulty
level, if it is modular... needs glue,.. or cutting... etc.

V'Ann
vann@cardiff.com





Date: Fri, 2 Jun 1995 15:55:39 -0300
From: casida@ERE.UMontreal.CA (Casida Mark)
Subject: Re: butterfly ball

Hello everyone,

Sometime ago I wrote to the list inquiring if a certain modular
I'd folded was the famous "butterfly ball".  It wasn't but
Jeannine Mosely and Lillian Sun sent me some very detailed
e-mail explanations which allowed me to assemble a real butterfly
ball.  Thanks awefully much.  I really think I had more fun
following these instructions than I would have had following
diagrams in a book.  Another result of the experience
is that I shall probably pay closer attention to modulars
in the future.

One problem I had seems to be associated with the use of
the usual store bought origami paper.  The ball was
d___ned hard to assemble!  Finally I used some of that
easily removable tape that graphic artists use when
they need to hold something temporarily.  (Sorry, but
I just didn't have enough fingers.)  Once assembled,
I could remove the tape and it stays together as long
as I am gentle with it.  I haven't had the courage yet
meant when she wrote: "If the model is made with lightweight
paper, you can blow on it and it will dismantle."

                         A la prochaine fois!

                          ... Mark





Date: Fri, 2 Jun 1995 17:42:44 -0300
From: Valerie Vann <75070.304@compuserve.com>
Subject: Copyright of origami works?

I'm no expert on this, but as far as I've been able to determine, in the USA,
the DESIGN, meaning the PROCEDURE for making an origami model is considered  a
process or algorithm or "idea" and is NOT copyright-able. It is possible to get
a PATENT on such a
procedure, but the difficulty and expense in doing so are usually too great.

What you CAN copyright are your DIAGRAMS (they are works of art or drawings,
similar to a book of drawings.
You can also (probably) copyright a single, individual MODEL, for example your
prototype, as it is similar to a paper sculpture, that
is, and ART WORK. To copyright drawings and art works in the USA it is only
strictly necessary to write a copyright notice and
date on the work itself (eg "Copyright 1995 John Doe") Some people add: "All
rights reserved" etc.
This prevents someone from publishing your diagrams without your permission, but
it DOES NOT prevent anyone from making your
design and doing whatever they want with the copies they make, just as they can
make as many models as they like from published
diagrams, since the DESIGN itself is not copyright-able.

If your object is mainly to get the credit for inventing something, however, the
best bet is to copyright your diagrams and go public with them to put everyone
on notice that you are claiming original invention.

--valerie
Valerie Vann
Compuserve: 75070,304  or Internet:75070.304@compuserve.com
Internet:   vvann@delphi.com
            valerivann@aol.com





Date: Fri, 2 Jun 1995 19:15:19 -0300
From: casida@ERE.UMontreal.CA (Casida Mark)
Subject: Re: FW: origami that starts with lotus fold

Lisa Hodsdon wrote :
>
> I just received a request for help, but I don't have anything in my
> known repetoire or in any of my "at work" references.
> Anything SIMPLE other than the fortune teller or salt shaker?
> ______________________________
> Does any of you know an origami figure that starts by
> folding the corners of a square to the center, then folding
> the resulting corners to the center, and so on? (For at least
> an iteration or two.)
> ______________________________
> Thanks!
> Lisa Hodsdon
>

I know there are going to be a lot of answers to this.  At the
risk of being redundant, I'd just like to mention that
Isao Honda's THE WORLD OF ORIGAMI (Japan Publications, Tokyo, 1965)
ISBN ?, Library of Congress Catalog Card No. 65-27101
has a section on simple things you can fold from the lotus
fold (called the "all corner fold" in the book):

  1) Lotus Blossom (May be not so simple?  I hadn't folded
     this since I was a kid.  Relearning it from the instructions
     involved some false starts.  Also I can see the paper tairing.
     However with a real live teacher and reasonable paper, I don't
     think it is too hard.)

  2) Pinwheel

  3) Yakkosan (A favorite traditional model.  Real easy!
     The paper comes out in a kimono shape that resembles a man.
     (The book explains that "Yakkosan" means "manservant".))

  4) Flower-Shaped Candy Cup

  5) Sambo (Japanese offering stand --- oops, I guess we are getting
     into intermediate here.)

I'll be looking forward to reading the other answers!

                                ... Mark





Date: Fri, 2 Jun 1995 19:56:03 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Favorite diagram editor?

On Fri, 2 Jun 1995 sychen@ENH.NIST.GOV (Shi-Yew Chen (a.k.a. Sy)) said:

>Hi, everyone,
>
>I am thinking about diagramming some of my origami works using softwares.
I
>would like to get more suggestions or knacks about this topic. Any
commercial,
>shareware, freeware, or even your own program are welcome. It would be
better
>to know some of its pros and cons in your own opinion. Please name the
program
>and platform you are using for editing.
>
>I know Robert Lang has his own software for his books (?). I don't think
it is
>'Treemaker'. Can you clarify this for me, Robert?
Although I have yet to use his program, to my knowledge, Robert has only
used Treemaker for design purposes; I doubt that its output and formatting
capabilities are neary as extensive as that of Freehand 3.0, which he has
used to produce most of his books. Other Freehand users include John
Montroll and myself. Freehand is currently put out by Macromedia(who
purchased the program rights from Aldus). The only platforms that I think
it supports are MS Windows and Macintosh. Incidently, files can be shared
between the two platforms, and the functionality between them is virtualy
the same. However, the latest version (5.0) is only available on the
macintosh. It featues an extrude command to generate 3-D effects. Robert
has apparently stuck with ver 3.0, as he likes the flexibility of the grid
setup (he can include more points). I prefer the later releases as the text
handling has substantialy inproved.

In the PC arena, Corel DRAW! will give you a lot of bang for your buck, but
the fonts are proprietary, and i have always found the various controls to
be awkward. Freehand and Illustrator are widely regarded as the high end
illustration software for PC as well as Macintosh systems. I opted for
Freehand only because of precedence; Robert Lang, John Montroll, and
OrigamiUSA all use Freehand.

If price is a major issue, Maarten van Gelder offers his own program at the
archives at no cost. There is probably a much higher learning curve to use
his software, and there is apparently less flexibility available than in
commercial software, but being free sort of outweights these factors. I
have seen what it can produce, and the results are very good. let me know
if yoiu have any other questions.

Happy diagraming,
Marc Kirschenbaum





Date: Sat, 3 Jun 1995 00:19:07 -0300
From: jpolish@usa.pipeline.com (Jan Polish)
Subject: Re: Copyright of origami works?

On Fri, 2 Jun 1995, 'Valerie Vann' said:

>I'm no expert on this, but as far as I've been able to determine, in the
USA,
>the DESIGN, meaning the PROCEDURE for making an origami model is
considered  a
>process or algorithm or "idea" and is NOT copyright-able. It is possible
to
>get
>a PATENT on such a
>procedure, but the difficulty and expense in doing so are usually too
great.
>
>What you CAN copyright are your DIAGRAMS (they are works of art or
drawings,
>similar to a book of drawings.
>You can also (probably) copyright a single, individual MODEL, for example
your
>prototype, as it is similar to a paper sculpture, that
>is, and ART WORK. To copyright drawings and art works in the USA it is
only
>strictly necessary to write a copyright notice and
>date on the work itself (eg "Copyright 1995 John Doe") Some people add:
"All
>rights reserved" etc.
>This prevents someone from publishing your diagrams without your
permission,
>but
>it DOES NOT prevent anyone from making your
>design and doing whatever they want with the copies they make, just as
they
>can
>make as many models as they like from published
>diagrams, since the DESIGN itself is not copyright-able.
>
>If your object is mainly to get the credit for inventing something,
however,
>the
>best bet is to copyright your diagrams and go public with them to put
everyone
>on notice that you are claiming original invention.
>

A few years ago Origami USA (then The Friends, of course) consulted an
attorney so that we could draw up a formal copyright policy. His advice
agreed very much with what Valerie said. He emphasized that intellectual
property (the design) was not copyright-able, but that the physical
property (the diagram) was. He also agreed that the "copyright by"
statement placed on a diagram was an effective copyright. If anyone is
interested in getting a copy of the Origami USA copyright policy, send a
SASE to Origami USA, 15 W 77 St, NY 10024 .... it includes our lawyer's
interpretation of the law, plus Origami USA policy, which goes much
further. Sorry, it's not available except on paper right now!

Jan Polish (jpolish@usa.pipeline.com)





Date: Sat, 3 Jun 1995 15:04:56 -0300
From: ACPQUINN@middlebury.edu
Subject: Re: Annual Collection contents? (was Re: Dinosaur's skeleton)

Hmmm...

I can't give all the "highlights" or contents of each, although I have them all
from '88 on -- I have them at home, not here.  However, I also have the '84
convention program which I picked up in the Gold Mine at Convention '89.  I
think the reason they don't go back further is simply that they have run out of
extra copies, or have decided not to print out any more.  Something like that.

        Alasdair Post-Quinn
        acpquinn@middlebury.edu





Date: Sat, 3 Jun 1995 15:07:45 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: Re: Favorite diagram editor?

I have been using GST Designworks on a PC (50) & it works fine for me. Corel is
powerful, but *very* greedy for resources. I can send you some samples if you
like.

I'm currrently beta testing version 3 & it looks good.

Nick





Date: Sat, 3 Jun 1995 15:10:15 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: wet-folding tips

Fourth time of sending - hope it gets through!

Hi there, I've been wet-folding for years - here's some tips I've put together -
hope they are of use...

WET FOLDING

When folding inanimate subjects such as trains, cars and the like, the main
objective is accuracy; all the requisite features should be the right size and
in the right place. In addition, the folding of mechanical objects lends itself
to a strongly geometric approach since curved surfaces are less frequent. When
you approach animate objects however, the reverse is true. With animals, birds,
flowers etc. the norm is the curved surface and straight lines occur as the
exception rather than the rule. Origami is, by its very nature, based on
geometry. Every crease we make is a straight line. How then do we reproduce the
gentle curves of life from such a linear framework?

In the past, one of the "rules" of origami was that every completed fold should
be capable of folding flat, which resulted in two dimensional representations of
creatures. This imposition has been adhered to less and less over the last
twenty years and few would now hold it to be valid.  Perhaps the spur to move
into fully three dimensional folding was provided by the Japanese Master, Akira
Yoshizawa. His overriding aim as to capture the "essence" of his subject
rather than simply reproduce all the salient features. To do this, he introduced
two key concepts; folding softly and wet-folding.

In 90% of all origami books, the folder is encouraged to make each crease as
sharp as possible, using his fingernail. This resulted in a very monochromatic
view; either a crease was firmly made, or it wasn't there. Yoshizawa added
colour to this view by suggesting that some creases should be made more
softly than others. Using this approach, a finished fold could now possess a
whole spectrum of creases, from sharp through to very gentle. This offered the
chance to be much more expressive when reproducing a living subject.

The technical problem of adding gentle creases is that they do not readily stay
in place as the fold is handled. Completed works were therefore very fragile and
impermanent. Yoshizawa overcame this by wet-folding; folding with dampened
paper which retained its shape when dried. The secret behind this lies in the
sizing within the paper. This is a water-soluble adhesive which binds the fibres
of the paper together and provides the stiffness. Damping the paper dissolves
the sizing, separating the fibres and leaving the paper floppy and malleable.
The reverse occurs as the paper dries out, setting the fibres in whatever
position you require.

The nature of the process requires paper which has the right properties (ie.
soluble sizing) so many types of paper are simply not appropriate to the
technique. In general, the thicker types of paper are best, such as artists'
Ingres paper. The only true test is to wet-fold it! As a technique however,
wet-folding is still shunned by many folders because of the associated
drawbacks. Dampened paper is notoriously difficult to handle and easy to tear.
The loosened fibres will separate very easily, especially where several
layers need to be folded simultaneously. The paper also expands unevenly in the
direction of the fibres, so accurate folding is also a problem. In addition, due
to the thickness of the paper, complex folds and large numbers of layers are
impossible.

Why then do many of the worlds leading folders persist with the technique?
Aside from the ability to mould the paper into a more lifelike shape,
wet-folding provides two other main advantages. Firstly, it endows the finished
fold with a strength and endurance far in excess of any other method; wet-folded
origami can safely be handled and stored without fear of losing its shape,
making it ideal for display purposes. Assuming that the sizing and colouring
within the paper is chemically neutral, the fold will also last for years, as
with many other true works of art.

The second advantage is an aesthetic one; there is no substitute for the
beautiful appearance of thick paper, especially that with a texture.

HOW TO DO IT

Start off with a simple fold that you have folded many times using conventional
paper. A good subject is one which avoids pointed corners and sharp creases. The
larger the square you start with, the thicker the paper you can use. A weight of
170 gm/m  is probably an upper limit until you are sure of yourself, but for
smaller folds, 100 gm/m  is more effective.  Try experimenting with different
weights to see which you find easiest to work with.

It is perfectly feasible to cut your square before damping, but since the fibres
expand in an unpredictable way, you may wish to damp the paper and then cut the
square. Try not to add any creases before damping, since they soak up more water
and hence tear easily. To damp the paper, use an absorbent cloth and carefully
brush both sides of the paper until the sheet is uniformly damp. An alternative
method is to use a fine spray from an atomiser.

The key word is damp; not wet! Only experience can really tell you how damp the
paper needs to be, but if it becomes shiny, allow it to dry slightly before
proceeding. Since the paper starts to dry immediately, the value of knowing the
folds becomes apparent; you must fold fairly promptly, using the cloth to
re-dampen the paper as and when necesssary. You will soon find that the paper
isn't easy to handle; great care must be taken not to make firm creases unless
they are essential.

Once a crease has been made, you can use the warmth of your fingers to partially
dry out that area so it will retain its shape for you. Californian master-folder
Robert Lang  recommends using masking tape to help reinforce weak areas of
the paper (such as where several creases meet) and to hold the paper in position
until it dries. The tape can be carefully peeled off later. Since the aim of
wet-foding is "animation" of the fold, you should encourage three-dimensionality
wherever possible and keep non-essential creases to a minimum. A good example of
this is the back, usually formed with a diagonal crease. Instead of creasing the
whole diagonal, only add locating creases from which to proceed, then loosely
round the back. A consequence of this is that most of your folding will have to
be performed in the air, continually shaping and holding, using masking tape if
it helps. Once finished to your satisfaction, you can either leave it to
dry naturally, or even assist the process with a hot-air dryer.

As you will discover, the feel and appearance of wet-folded origami is
impossible to match in any other way, and all the effort involved in the folding
will be well worth while. Not only will you have a beautiful and handleable
fold, but it will last for many years.

Nick





Date: Sun, 4 Jun 1995 02:29:51 -0300
From: billhall@computek.net (Bill Hall)
Subject: Re:

>I just got WEB access thru AOL.  Does anybody have a full or parial list of
>origami related WEB sites?
>
>Thanks in advance
>tom

Try these:
http://www2.gsu.edu/~gs01yyj/origami/origami.html
http://beijing.dis.anl.gov/ee-cgi-bin/jzawada/jz_origami.pl
http://www.ee.ed.ac.uk/~ee3jpl/orig.html
http://www.cs.su.oz.au/~fred/Origami/index.html
http://www-japan.mit.edu/users/lavin/personal.html
http://www.mit.edu:8001/people/baspitz/Origami/origami.html
http://www.tns.lcs.mit.edu/~hhh/origami/origami.html
http://omega.mac.cc.cmu.edu/
http://omega.mac.cc.cmu.edu/origami/index.html
http://www.sgi.com:80/grafica/fold/page001.html
http://www.cs.ubc.ca/spider/jwu/stuff.html
http://www.cs.ubc.ca/spider/jwu/whatsnew.htmlhttp://www.cs.ubc.ca/spider/jwu
/whatsnew.html
http://synap.neuro.sfc.keio.ac.jp/~aly/polygon/3d/3dgoaround.html
http://starbase.neosoft.com/~barber/
http://manor.york.ac.uk/htdocs/origami.html
http://raptor.swarthmore.edu/~philbo/origami.html
http://calvin.univalle.edu.co/~buitrago/origami.html
http://www.transarc.com/afs/transarc.com/public/morin/html/Origami.html
http://www.transarc.com/afs/transarc.com/public/dwp/html/Origami.html
http://www.netaxs.com/people/rshuster/origami.html
http://www.contrib.andrew.cmu.edu/usr/origami/home.html

Most of these sites also have links to other origami sites, so there may be
more that aren't listed here.

================================================
Hey, just because I _look_ dumb doesn't mean I'm _not_!
Bill Hall (billhall@computek.net) Dallas





Date: Sun, 4 Jun 1995 18:57:39 -0300
From: Nick Robinson <nick@tritec.demon.co.uk>
Subject: wet-folding wet-folding

Sorry about the duplicated contribution - been having a few (more) problems
getting mail to the list-server. Fingers crossed all is well now..

Any more topics you might want a piece about?

Nick

ps. contributions to my BO mag column "folders corner" welcome. Could be gossip,
theory, controversy(!), puzzles, queries, you name it.





Date: Mon, 5 Jun 1995 08:32:06 -0300
From: barber@starbase.neosoft.com (Alex Barber)
Subject: The State (MTV) and Origami

Those of you in the States who watch MTV may have seen a very silly bit on
that channel's comedy show The State.

The skit involves two college students, one of whom wants to reveal to the
other his secret love of origami.  It degenerates into quiet moments of
folding and cross-dressing...

Alex Barber

barber@starbase.neosoft.com | http://www.printnet.com/abarber/barber.html

I will not be pushed, filed, stamped, indexed, briefed, debriefed or
numbered.  My life is my own.





Date: Mon, 5 Jun 1995 08:35:30 -0300
From: Jae Hyuk Lee <jaelee@WPI.EDU>
Subject: Origami Omnibus

Those of you who are having trouble find this out-of-print book
should try calling Kinokuniya (Japanese) Bookstores.  I went to
one of their branches when I visited NYCity yesterday, and found
three copies there.  Naturally, I bought one for myself.  ^_^

The lower right corner of the front cover on the 2 remaining copies
is slightly curled (but not ripped) toward the center of the cover.
Call them today before they are all gone!  Try to speak clearly and slowly.
The book is about 1 inch thick, and has a red spine with white letters.

Here are the phone numbers:

San Francisco 415-567-7625     Costa Mesa 714-434-9986
San Jose      408-252-1300     Seattle    206-587-2477
Los Angeles   213-687-4480     New York   212-765-1461
Torrance      310-327-6577     New Jersey 201-941-7580
--
   |\_                                                  ___.-.___  ________
   | =\_.     o            jaelee@wpi.edu     M  _  o   \_______/ (|______/
  /______)   <M\     \o      Jae H. Lee       a (_|_/}     `-'_\\___||_  BDFT
 //O"O"O"O   / > o _^/>  Worcester Polytech.  c ]"[ <T       )[______.-'  #42





Date: Mon, 5 Jun 1995 15:09:08 -0300
From: Rjlang@aol.com
Subject: Re: Favorite diagram editor?

> I know Robert Lang has his own software for his books (?). I don't think it
> is 'Treemaker'. Can you clarify this for me, Robert?

For diagramming, I use Macromedia Freehand (formerly Aldus Freehand), which
is also what John Montroll and several other diagrammers use. It's available
in both Mac and Windoze versions (street price $400-500). I have also heard
of people using Corel Draw (on the PC),  Canvas (Mac) and ClarisDraw (Mac),
which are cheaper (but not as powerful) and Adobe Illustrator (both), which
is expensive and powerful. You can probably generate servicable diagrams
using any vector-based (not bitmapped) drawing program.

"Treemaker," by the way, is not for diagramming; it's an evolving program
that designs origami models by computing the full crease pattern for a base
from a stick figure that you specify. I'll be demoing it at the OUSA
convention if someone will volunteer to supply a Mac at the convention
(preferably a fast one) for me to demo it on.
Robert





Date: Mon, 5 Jun 1995 15:15:11 -0300
From: Rjlang@aol.com
Subject: More congrats on Wu's Web Wunderblatt

Congratulations (again) to Joseph Wu, whose origami home page
(http://www.cs.ubc.ca/spider/jwu/origami.html) was listed in Compuserve
Magazine's selection of 88 Web pages to check out!

Robert





Date: Mon, 5 Jun 1995 16:26:13 -0300
From: richard@octel.com (Richard Karasik)
Subject: downloading

 Hi,
 I am using both the latest version ofnetscape and of
mosaic.  I am having extreme difficulty downloading the ghostscript
stuff for dos (oh yeah I have run this on Sparc 5 and PC machines)
The files seem to scroll across my screeen -not like any other zip file I have
     ever downloaded,
and then when I can capture them they are not recognized zip filess but instead
     need
something called version 7 of pkzip
 I thought the highest version number was 2.04g!!
TIA
Richard Karasik





Date: Mon, 5 Jun 1995 19:36:02 -0300
From: chiug@cognos.com (Grace Chiu)
Subject: Re: Favorite diagram editor?

Nick wrote:
>I have been using GST Designworks on a PC (50) & it works fine for me.
Corel is
>powerful, but *very* greedy for resources. I can send you some samples if you
>like.

Is "GST Designworks" a Windows app?  ("GST is NOt a good name for a company
in Canada, eh?) And is it freeware, shareware, or bigbucks-ware?  If it's
one of the first two, could you post it on the ftp server (rugcis.rug.nl?

And are you referring to Corel the COMpany as being powerful & greedy? Or Corel
DRAW? Not that there's a difference ...  ;^)   (We play soccer against
Corel. This is just a good jab opportunity.)

Regards,

Grace Chiu
chiug@cognos.com





Date: Tue, 6 Jun 1995 12:14:59 -0300
From: marmonk@mail.eskimo.com (Mark Morden)
Subject: Any CHAOS members lurking about?

I found out yesterday that I will be spending the next two weeks in Chicago
on business.  I know of a folders club in the area called CHAOS (CHicago
Area Origami Society) or something like that.  Are there any members out
there or any one who would know when and where they will be meeting in June.
I would like to join them for an evening of paperfolding.

Thanks for any and all info.

Mark Morden == marmonk@mail.eskimo.com
--------------------------------------------------------
I believe in Christianity as I belive in the rising sun;
not because I see it but by it I see all else.
                                           C.S. Lewis





Date: Tue, 6 Jun 1995 18:42:54 -0300
From: Andy Paradis <Andy.Paradis.0503126@nt.com>
Subject: I'm going to Japan!

                       Subject:                               Time:3:39
PM
  OFFICE MEMO          I'm going to Japan!
Date:6/6/95

Can anyone provide information related to any Origami related places to
see, do or shop  while I'm in Japan. I'll be mostly around Tokyo and
Yokohama the last two weeks of July. I will try to venture further
afield, though so any and all information would be appreciated.

Thanks





Date: Tue, 6 Jun 1995 22:27:20 -0300
From: Laurie_Reynolds@smec.sel.sony.com (Laurie Reynolds)
Subject: Cranes and Money Needed - Peace Kids project

Hello,

Well, after 10 phone calls, I finally tracked down information regarding
the Peace Kids project.  (Had, I just waited until Beck returned from
vacation, I would have been saved all those phone calls to New Mexico :-) )

What:   April 7, 1990 a group of children in New Mexico formed a committee to
====    build a sister statue to Sadako (Children's  Peace Statue in Hiroshima,
        Japan, - Built through the hard work of her classmates while they were
        in high school - Read the book "Sadako and the Thousand Paper Cranes"
        by Eleanor Coerr)

        Starting with ~ $15.00, and the support of a couple of extraordinarily
        special teachers, the children began collecting names, money, and
        ideas for the statue.  Submissions were reviewed by the American
        Institute of Architects in cities around the country.  Each state chose
        two drawings to be models.  The models were then sent to New Mexico for
        judging.  These models have been touring the country and will be in
        Albuquerque for the dedication.

        The winner........  In 1994 - Noe Martinez's design was chosen.  It is
        a garden with the focal point, a spherical, spraying fountain which is
        surrounded by flowers which form the shape of the continents of the
        earth.

        5 years later, they will be dedicating the "Peace Garden" at the
        entrance to the Albuquerque Museum this August during a 31 day ceremony.
        Tim Joseph, of Colorado is constructing the peace statue.  He has
        included ~ 2,000 children in the development of this project.  Every
        day children will be reciting the names of the children who have donated
        money towards the project.  This has gained international attention,
        and although the dedication is still a couple months away, already
        people have begun to come from all over the world.

$$$$$$  - The project is estimated to cost $45,000.  Only approximately
======  $30,000 has been raised so far.

               For sale:     Video Tape - "On a Paper Crane" - a beautiful
     cartoon showing 12 year old Sadako " who comes
                          to life" and tells her story.  $10 + $4 mailing

                          T-Shirts - $14 + $4 mailing

                          One-Dollar-a-Share Card certificates - With
                          each $1 donation, a child's name will be read
                          during the month of August.  (Ordered in sets of
                          $25)

                     Checks payable to "NMCC Peace Statue Fund"

Origami - They are requesting strings of 100 or preferably 1,000 be
=======                sent for the ceremonies.  They have already received
                     ~2,000,000.  These will be hung from the museum ceiling
                     and draped around the statue.

Contacts -  Camy Condon
========    New Mexico Conference of Churches
            124 Hermosa, SE
            Albuquerque, NM 87108-2610

            tel:       (505)255 - 1509
            fax:       (505)256 - 0071

               To talk to Camy is to have one's faith in human kindness and
               unflailing good will renewed.  She is just simply a wonderful
               person!

ps.     This has not all been a well received project.  Originally, members of
        the Los Alamos community had fully supported the children's request that
        the peace statue be built there, but in February, the Los Alamos County
        Council rescinded their original support.  There were some very hostile,
        and nasty reactions from members of the community.  An unfortunate
        lesson for children to learn.

Please share this with your friends and give Camy a call.  As Beck said in her
initial posting about this "It's a wonderful project, and it has its origins in
Origami"!

Best Regards,
laurie

/*
        Important disclaimers and disassociations.  The above information is
        provided by me and in no way reflects any opinion of the company at
        which I happen to be employed.  Nor is it supported in any way by
        them.





Date: Tue, 6 Jun 1995 22:42:32 -0300
From: Laurie_Reynolds@smec.sel.sony.com (Laurie Reynolds)
Subject: Origami Elbow & other injuries

Hi,

I seem to have contracted "origami elbow".  I've been folding cranes for the
Children's Peace statue in New Mexico, and are experiencing pains in my elbow
and wrist.

I'm also a software engineer, so any permanent damage could be harmful to my
career :-)

My queries:

- Any cures (besides stop folding?)  I've played tennis for years, and never
        had tennis elbow.

- Is my folding technique wrong?  Should I wear a brace?  I've only folded
        250, how am I ever going to get to 1000?  It was much easier to
        write a check.  %-)

- I've tried folding with my left hand dominating, and found that I am extremely
        clumsy.  I heard that some people folded with their feet during one
        origami convention.  Was this successful?

- What is an average rate per hour for folding cranes?  I think that I am
        averaging ~ 15 - 20.  Hmm,  if I fold with my feet and hands, I should
        be able to double my output.

- If i continue can I expect to be arthritic at an early age?

- Is there origami-injury clauses to health insurance plans?

Thanks for indulging in nonsense again.........  :-) :-) :-)

bye,
lr





Date: Tue, 6 Jun 1995 22:51:01 -0300
From: Laurie_Reynolds@smec.sel.sony.com (Laurie Reynolds)
Subject: Origami paper w/ map pattern

Hello again,

I've been folding cranes for the peace statue, as my prior posing indicates.
The theme for the project is the creation of a bridge between the two countries.
I thought that it would be a nice touch to fold some of the cranes using maps,

Unfortunately, I am lazy, and do not want to buy a bunch of maps and cut them
up, i'd like someone else to do that.

Any sources for origami paper with map motif?

thanks,
lr





Date: Wed, 7 Jun 1995 01:03:42 -0300
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Origami Elbow & other injuries

On Tue, 6 Jun 1995 Laurie_Reynolds@smec.sel.sony.com (Laurie Reynolds)
said:

>Hi,
>
>I seem to have contracted "origami elbow".  I've been folding cranes for
the
>Children's Peace statue in New Mexico, and are experiencing pains in my
elbow
>and wrist.
>
>I'm also a software engineer, so any permanent damage could be harmful to
my
>career :-)
>
>My queries:
>
>- Any cures (besides stop folding?)  I've played tennis for years, and
never
>       had tennis elbow.
>
>- Is my folding technique wrong?  Should I wear a brace?  I've only folded

>       250, how am I ever going to get to 1000?  It was much easier to
>       write a check.  %-)

The only observation that I can provide, is that for most folding
situations, much of the time is spent in interpreting the instructions. If
there is anything else that you can do to break up a long stretch of
folding (such as paper preparation), I guess that is the best solution. It
is true that the height of one's desk, as relative to the height of one's
chair, plays a big role on posture. Try to change the heights durring a
folding session.
>
>- I've tried folding with my left hand dominating, and found that I am
>extremely
>       clumsy.  I heard that some people folded with their feet during one
>       origami convention.  Was this successful?
I think that most of the participants were successful.
>
>- What is an average rate per hour for folding cranes?  I think that I am

>       averaging ~ 15 - 20.  Hmm,  if I fold with my feet and hands, I should
>       be able to double my output.
Probably not; I recall a few of the paricipants falling over while folding.
You will need to have a hand free to catch yourself.
>
>- If i continue can I expect to be arthritic at an early age?
Probably not. I am sure by that point you would have amassed enough cranes
to grant yourself a health number of wishes.
>
>- Is there origami-injury clauses to health insurance plans?
Lloyds of London (sp), has been known to insure almost anything. A friend
of mine had his wrists insured before going to a ping-pong match.
>
>Thanks for indulging in nonsense again.........  :-) :-) :-)
 No problem, it plagues the best of us (especially).
Marc Kirschenbaum
