




Return-path: <origami-l@nstn.ca>
Date: Fri, 29 Sep 1995 19:52:18 -0300
From: William Anstine <cptcobel@yrkpa.kias.com>
Subject: Re: Survey on Origami Artist Fees

I've taught classes at a local department store, Boscov's, during one of
their arranged events.  I didn't specify my wage, but received $25 per
1.5hour class for 3 classes.  The content was entirely decided by me, and
I was responsible for acquiring and compiling "supplies" packages, and
selling them individually to the students.

On Fri, 29 Sep 1995 VickyAV@aol.com wrote:

> Wheither you consider origami an "art" or a "craft", some of us have received
> Artist Fees for sharing our talents.  Yes... many of us have also done alot
> of "free" work, its all a part of the sharing philosophy that is a hallmark
> of folders everywhere.
>
> But what I want to know is all about those occasions when you were
> compensated for your skills!  I'll collect the information with the hopes of
> creating a resource or perhaps a guideline - or it may just become a
> curiosity.   Let's see where we can go with this.
>
> I don't know if protocol would require that this type of information should
> or should not be posted to the entire list, so unless you can tell me
> otherwise it's certainly ok to mail to me directly.  Indicate if you prefer
> to be confidentially included.
>
> 1)  teaching  - fee per hour or session, number of people at session, type of
> contract (school, library, convention, private party, corporate,etc), did you
> provide and charge extra for paper?  How did you get the job?
>
> 2)  demonstration - a demonstration of folding that did not include teaching.
>  (answer same questions as for teaching)
>
> 3)  agencies - work with ad agencies for tv, movie, print, magazines, etc.
>  What did you do?  How much did you charge or did you trade for free
> publicity.   How did you charge - per hour, per model or flat fee for
> project.  How did you get the job?
>
> 4)  selling models - finished models purchased or commissioned for private
> collectors.  What models, how much, how was it presented (boxed, framed, on
> its own as exhibit quality, etc),  and any other details about the finished
> model such as paper used and if its your original creation.
>
> 5)  mass production models-  for craft fairs or wholesale.  (same questions
> as #4)
>
> 6)  author's fees:  what type of compensation - flat fee, percentage of books
> sold, exchange for free copies, a combination of the above?
>
> Please add any pertinent information but keep answers as brief as possible.
>  Again, it can be confidential or public.  Any other topics I should include?
>  Thanks.
>
> Vicky Mihara Avery





Return-path: <origami-l@nstn.ca>
Date: Fri, 29 Sep 1995 20:54:57 -0300
From: avinapas <avinapas@shani.net>
Subject: RE: Maekawa's Theory - Happy End!

> So, here's my non-mathematical interpretation of this Maekawa application
> thing.
> Say you want to create a base for something, and you need to make some ...
                          .
                          .
                          .
> ...the above means "angle alpha is 1/n times the angle of a right angle
> for n flaps(?)

Well, I guess that DOES shed some light on this...

> I dunno.  Try folding that dinosaur and then that peacock on the next page.
> Then unfold them and study the crease patterns.  I think they're just
> trying to get you to appreciate the relationship between bases and crease
> patterns as a foundation for design.  That's why there isn't any
> instructions to fold the peacock, just the crease pattern and a photo of the
> finished product.

I think I'll do that.

> This Maekawa stuff and what I got from Robert Lang's design workshop at the
> OUSA convention certainly made me get away from the patternized approach to
> origami.
> It's kinda second-generation origami, eh?  Deep stuff this hobby of ours.

Actually, I thought I would enjoy looking into the theoretical aspects of
Origami - you know, shed some new light on the good-ol' (yet never dull!)
finished-model focus thing - that's what really appealed to me when I
first saw this book.

> Have a fun weekend,

Oh! I'll do that too, I think!

Thanx for all,
                     Avi.
                     avinapas@shani.co.il





Return-path: <origami-l@nstn.ca>
Date: Fri, 29 Sep 1995 22:07:35 -0300
From: Joseph Wu <jwu@cs.ubc.ca>
Subject: Re: Diggers

On Fri, 29 Sep 1995 agb@mrc-lmb.cam.ac.uk wrote:

> Does anyone know of diagrams for a mechanical digger?

The first one that comes to mind is in Momotani's Origami Vehicles book.
It's in Japanese, however.

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)





Return-path: <origami-l@nstn.ca>
Date: Sat, 30 Sep 1995 07:39:23 -0300
From: Penny <Penny@sector.demon.co.uk>
Subject: bladerunner,the next instalment and help!!!

(In reply to your message dated Wednesday 27, September 1995)
Mick Guy's were the folding hands on Bladerunner, I have just spoken to him and
asked what he made.
He said the first was an unknown chicken,a bit of a botched job,it  was cut and
in 2 pieces and he re constructed it for the film.
The second was to be a scorpion so  he folded one by Pat Crawford .

Also, if this message gets through, it didn't yesterday,cananyone tell me why
a) I keep getting unsubscribed
and
b) why, when I am subscribed it says I'm not and sends messages back, but quotes
my name with @post.demon.co.uk before my own address.

I would be really grateful for any ideas about this, in fact I'd be glad to know
that this has got out into the world at all, rather than bouncing around it and
ariving back here unread!!!
------------------------------------------
Penny Groom                :(
Membership Sec BOS         :)
penny@sector.demon.co.uk





Return-path: <origami-l@nstn.ca>
Date: Sat, 30 Sep 1995 12:27:26 -0300
From: Rjlang@aol.com
Subject: Robin Macey visiting Albuquerque

Hi folks,

Robin Macey from the U.K. is currently visiting the U.S. (he's staying with
me right now) and will be visiting Albuquerque, NM from 5 October until 15
October. (For those who don't recognize the name, Robin is the unofficial
photographer for the British Origami Society and, among other projects, was
the photographer for my book, The Complete Book of Origami. He's also a
member of OUSA.) If anyone is interested in arranging a visit with him while
he's in Albuquerque, please post privately to me (rjlang@aol.com) before
Thursday, October 5th.

Robert Lang





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Oct 1995 15:54:16 -0300
From: Steve Vinik <z007169b@bcfreenet.seflin.lib.fl.us>
Subject: An Origami Parody: STAR FOLDS

Hi, gang, I just unearthed this document from my paper archives and
thought all you movie buffs/origami fans might enjoy it. (I think it was
previously published in the Friends of the Origami Center's newsletter,
but I could never find the issue.) Enjoy . . .

-------------------------------------------------------------------------
                           STAR FOLDS
                 An origami parody by Steve Vinik

     Pulling back the paper hood from his wrinkled face, the old man
caught the eye of his pupil. "Lucky Starfolder," he said, "the folds are
strong with you."
     "I don't believe in the folds," said young Luck. "Just a page out of
a children's story."
     The old man chortled, then sat heavily on a paper chaise lounge.
"Never underestimate the force of the folds, Luck. Although the power of
folded paper increases harmony, it can also be bent towards destruction.
Your father, you know, succumbed to the reverse side of the folds. He is
the reason for this ever widening rip in the Peace of Paper."
     "But Foldy-One-Papyrus, my father is dead."
     "No, Luck. He is just crimped beyond recognition. He lives for the
glory of showing off his twisted folds while squashing the folds of
others. He pirates away origami supplies, depriving us of square-cut
paper and foils; hence his name . . ."
     "You don't mean my father is Dearth Paper!" Luck exclaimed.
     "Your father is the fold's mortal enemy. And you, Lucky Starfolder,
are the fold's final hope."
     Foldy-One-Papyrus unfolded from his chair and gave Luck the square
sign. "May the folds be with you."

                                  *   *   *

(And that's all, folks!)

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

Paper: the launching pad of the imagination





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Oct 1995 22:19:03 -0300
From: Tim Kennedy <TKENNEDY@UGA.CC.UGA.EDU>
Subject: Cow Fax hanging on a telephone wire

Dear Friends: Please pardon the intrusion. J.Noll graciously faxed me his
bovine bill-fold and unfortunately the fax machine ran out of paper after
step #26 where I am currently left hanging(my what big eyes she has too).
If J.Noll is out there, could he please send me the final verse on the
body folds? Thank you all for your patience.





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 09:31:05 -0300
From: "M.J.van.Gelder" <M.J.van.Gelder@rc.rug.nl>
Subject: Program ORIDRAW available

Some people asked me if they could get my drawing program ORIDRAW.
At this moment it is available in the archives.

ORIDRAW / ORITOPS                         Programs to draw Origami diagrams

   Author: M.J.van Gelder              Groningen,   Holland
    Email: M.J.van.Gelder@rc.rug.nl

Read me file:                                          Last update 19950907

Contents:

 - Short description of ORIDRAW / ORITOPS
 - History of ORIDRAW / ORITOPS
 - Things to do

*** Short description of ORIDRAW / ORITOPS

ORIDRAW is a program designed to make Origami diagrams.
It is not a WYSIWYG (What You See Is What You Get) program: ORIDRAW reads
commands from a file and converts them to diagrams.
The drawing commands are especially devised for Origami, but you may use them
for other drawings too.

ORITOPS is a PostScript generator that knows the same commands as ORIDRAW.

ORIDRAW can show you the layout of the pages.

See also:

   INSTALL.DOC       installation documentation
   ORITOPS.DOC       documentation on the ORITOPS program
   ORIDRAW.DOC       documentation on the ORIDRAW program

*** History of ORIDRAW / ORITOPS

Begin 1985 I wanted to use the computer for making diagrams for my own
Origami creations.  After a short look around I realised that I had to make
my own program.  The only drawing program available to me was DrawPerfect
that wasn't so perfect for Origami drawing.  For other packages I had to pay,
what I didn't like.  And computer programming was my job and I liked that.

So I started with a simple program based on a directive file.  Somewhat like
Logo or some Turtle graphics.  During the years I changed the directives and
added several features.  If you want to know what is available in have a look
in one of the .DOC files (ORIDRAW and ORITOPS only differ in their output
format and the command options).

After taking over the archives of the Origami Interest Group from Brad
Blumenthal I added some programs to the archives.  Some people asked me for
my ORIDRAW program (ORITOPS didn't yet exist).  And begin 1993 I decided to
first take the PostScript generator apart (ORITOPS) and afterwards to add
both programs to the archives.

The changes made after the first public release are:

1993 September 25
   - First release of ORIDRAW and ORITOPS.

1994 August 24                     version 1.0
   - Corrected some minor errors.
   - Added color support to the fill command.
   - Added the possibility of two or more authors.
   - Rearranged the source code so I can maitain ORIDRAW and ORITOPS
     simultaneously and more easy.
   - Added a simple program to maintain the .DOC and .HLP files more easy.
     It also adds a .INX file with an alphbetical list of all available
     commands.

1994 November 18                   version 1.1
   - #lx works now also in Adjust (Coordinate system) commands.
   - Added option /COLOR to ORITOPS (support for color printers).

1995 September 7                   version 3.0
   - Version 2 is only used internally to convert the Pascal source to C.
     The C source is more portable than Pascal.
   - Added an X windows version of ORIDRAW.
   - All command letters are converted to English (See documentation).
     The header of the file has another format now.
     Program UpGrade is added to the package to convert old style ORI files
     to version 3.
   - Mountain folds, valley folds and arrows are now automatically drawn with
     double penwidth.

*** Things to do

Bugs:

 - Using a macro in combination with an include file crashes the program.

Things to be implemented/changed:

 - Add a procedure in the PS file for arc (and ellips?) drawing.
   The PS file will shrink when a lot of arcs are drawn.

 - Add to the options of the Arc/Arrow command. The command will look like:
      Asn x1 y1 x2 y2 curv        with
         n --> # of arrowheads:  1, 2 or 0
       s ----> style, a combination of one of OMV and/or one of LD
      The style options fall in two sets:
         arrow head: one of O (open), M (mountain) or V (valley)
         linestyle: one of L (line), D (dotted)
      The default when no options are mentioned is:
         ALO1 . . . . .   [ normal line and 1 open arrowhead ]

 - Change the way the arrow heads are orientated. With small and very
   bended arcs they don't look nice.

 - Add the notation of .@ to denote the last point used. This is handy when
   filling polygons containing adjacent arcs.

 - You can only define 26 points. I plan to extend this.
   The command will look like:
      USn     save setting for unit n
      URn     restore setting for unit n
   Which settings will be saved is still under consideration. It can cover:
    - defined points
    - color settings
    - coordinate system settings

Maarten van Gelder, Rekencentrum RuG, RijksUniversiteit Groningen, Holland





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 10:44:23 -0300
From: sychen@ENH.NIST.GOV (Shi-Yew Chen \(a.k.a. Sy\))
Subject: Re: Diggers

>Does anyone know of diagrams for a mechanical digger?
>Thanks
>

Sorry for not answering this. Could someone post the model list in
Momotoni's Transportation book?

BTW are you talking about bulldozer or excavator?

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 12:38:47 -0300
From: dzimm@nando.net (David Zimmerman)
Subject: Re: Program ORIDRAW available

"> M.J.van.Gelder wrote ..."
>
> Some people asked me if they could get my drawing program ORIDRAW.
> At this moment it is available in the archives.
>
> To show you something of the ins and outs, I include the read.me file:
>
>
> ORIDRAW / ORITOPS                         Programs to draw Origami diagrams
>
>    Author: M.J.van Gelder              Groningen,   Holland
>     Email: M.J.van.Gelder@rc.rug.nl
>

When will you make it available for non-Windows platforms?
Or perhaps source so that it might be ported?
I use several different UNIX boxes and Macintosh, but no windows.

--
David P Zimmerman             dzimm@nando.net
916 Riderwood Ct               919 557 7692
WillowSpring NC 27592

Any sufficiently advanced technology is indistinguishable from a
rigged demo.





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 12:41:51 -0300
From: gpowell@mv.us.adobe.com (Gary W. Powell)
Subject: Re: Diggers

At 10:07 PM 9/29/95, Joseph Wu you wrote:
> On Fri, 29 Sep 1995 agb@mrc-lmb.cam.ac.uk wrote:
>
> > Does anyone know of diagrams for a mechanical digger?
>
> The first one that comes to mind is in Momotani's Origami Vehicles book.
> It's in Japanese, however.
>
Hi Josheph,
  Are these models a single square sheet or odd shapped sheets or modulars?
Also on the Montrol scale of difficulty what would you say is their rating?

    -Gary-





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 14:58:11 -0300
From: LapinPub@aol.com
Subject: Re: Folding miniatures

In a message dated 95-09-29 07:42:49 EDT, you write:

>Jay,
>       I have a question maybe two for you after viewing the models that
>you folded in Joseph's page.  The question is how do you fold miniatures
>of origami models?  Do you use any instruments to help you with the
>folding (for example tweezers or magnifying glass)?  I myself love to do
>miniatures but not as "mini" as yours.  The miniatures that I have done
>are mostly done by hands with no tools (well except maybe for the tip of
>a pencil).  I am trying not to get myself to start using tools for
>folding. The smallest I can fold was traditional crane from 1 cm square,
>but that was easy because crane does not require tons of steps.  Next to
>that were Lang's Ant from 2" square and Montroll's dogs (Origami
>Sculpture) from 2" also.
>
>Any help will be appreciated,
>
>Yusri
>
>

Hey Yusri, thanks for writing.  I do many of my miniatures with tools though
there is definately a school of thought that declares that tools are not to
be used, and I respect them.  But from my point of view I'm interested in the
final result and if in using tools I can get a better result then I'm gonna
use tools.

My primanry tools are two pairs of tweezers and a bent paperclip.  The
tweezers were bought from a local hobby store and are from the X-Acto line of
products.  One is very thin and sharp pointed and is "backwards" so that it's
normal state is to be closed and opens only when you squeeze it.  The other
is a more convential pair, still pointed, but it has a little "slide" in it
that can be used to either lock it shut or control the maximum amount that it
will open.  That way you can set it to be open, say 1/16", and work the paper
that way.  Very useful.  The paperclip I open completely so that one end is
pointed and clamp the other end closed on itself so that I also have a soft
rounded end.  Working with these tools takes practice, it is easier to mangle
the paper with them than not.  But as you get used to them they will become
extension of your hands.

As for lighting and magnifying glasses, I work with a desk lamp approximately
8" over the surface of a beige, wooden table (the light is under the level of
my eyes (that is I am looking down at the light rather than the light shining
down on me)).  I have rather bad astygmatism in my eyes which makes my vision
fuzzy but all the work that you see there was done without my glasses.  I do
the folding mostly by touch.  It is amazing how sensitive the fingers can be!

J.C. Nolan (LapinPub@aol.com)





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 16:52:28 -0300
From: lina@trilogy.net
Subject: Re: Folding miniatures

IO>As for lighting and magnifying glasses, I work with a desk lamp approximatel
IO>8" over the surface of a beige, wooden table (the light is under the level o
IO>my eyes (that is I am looking down at the light rather than the light shinin
IO>down on me)).  I have rather bad astygmatism in my eyes which makes my visio
IO>fuzzy but all the work that you see there was done without my glasses.  I do
IO>the folding mostly by touch.  It is amazing how sensitive the fingers can be

IO>J.C. Nolan (LapinPub@aol.com)
.
J.C.
.
Your description of your lighting and vision situation reminded me of
when I worked in a pc board (think motherboards or modems) assembly
plant.
.
The assemlers there used a lamp which was made of a circular flurescent
light with a magnifying glass in the opening. It ws about 10 inches in
diameter and was clamped to the table and was hinged and moveable, kind
of like dental equipment.
.
The magnifying glass filled in the entire 8 inch opening.
.
To use it, you position it between you and the work and look down thru
the magnifying glass and your work was both magnified and lit.
.
hope this helps, but I no idea where to find them, just wanted you to
they existed.
.
lina





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 19:22:06 -0300
From: CM317@aol.com
Subject: It's Cm2018

Hey everybody!! It is me, CM 2018.  I just got a new screen name(as you can
do w/AOL), because I got bored of the other one.  So I am telling you just in
case anybody wondered where I am.

Chris Miller





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Oct 1995 21:37:30 -0300
From: JudyWHall@aol.com
Subject: Re: Friday Night

Hi Rona, I hope you get this and respond so I'll know you agree with the
plans for Darien.  I'll also call you the old-fashioned way.  Are you going
with me?  I suggest we meet at Waldbaum's in Georgetown on Route 7 and the
junction of 107.  I think we talked about this already, but I felt like using
the computer.  Did you get Penny's and my message from England?  I think we
should talk on the phone to confirm time and all.  But let me know you got
this.  Judy





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 10:19:34 -0300
From: Doug Philips <dwp+@transarc.com>
Subject: Tools in Origami (was: Folding miniatures)

In message <951002135145_34505254@mail04.mail.aol.com> J.C. Nolan wrote:
+
+Hey Yusri, thanks for writing.  I do many of my miniatures with tools though
+there is definately a school of thought that declares that tools are not to
+be used, and I respect them.  But from my point of view I'm interested in the
+final result and if in using tools I can get a better result then I'm gonna
+use tools.

Not that this was central to your point, but I'd like to make a tangential
journey...

While it is hard to define origami precisely, I think one reasonable
attempt is to say: origami is a constrained set of operations upon paper.
Without going into the definition of just what paper is, or what the
operations are, I think a case can be made that those operations are not
*necessarily* dependent on any characteristics of the operator.  And I would
argue that they *should not* be.

I hadn't really thought about this aspect of origami until after COET '95.
At COET '95 there were several sessions on the topic of teaching origami to
students with various physical and emotional challenges.  It wasn't made
explicit, but as I reflected on that, it became clearer to me that it was
the element of manipulated paper, and not the exact means of manipulation or
method of communicating the manipulations to be performed, which was the
common element that allowed it all to make sense, to me, as "origami."

I could write a bit more about this, but I want to see if anyone else cares to
discuss it first.  If you do, please speak up!  If origami-l gets swamped we
can take it to private email, so don't hesitate, jump in!  It isn't my
intention to deny anyone their definition of origami.  I want to try to
refine/expand/understand my own definition.

-Doug





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 11:49:17 -0300
From: rshuster@netaxs.com (Bob Shuster)
Subject: Re: Tools in Origami (was: Folding miniatures)

>While it is hard to define origami precisely, I think one reasonable
>attempt is to say: origami is a constrained set of operations upon paper.
>Without going into the definition of just what paper is, or what the
>operations are, I think a case can be made that those operations are not
>*necessarily* dependent on any characteristics of the operator.  And I would
>argue that they *should not* be.

That definition can't stand by itself.  You say without going into the
definition of what paper or operations are - this is fine, but I think we
need to define what the constraints are!  I for one, believe that cutting
(other than cutting the initial shape) takes one out of the realm of
origami into ? (papercraft maybe?)  I used a cut for one model early on,
and while I still have it, I am embarassed to show it to anyone and call it
origami.  I usually call it "near origami". :)  I think a reasonable
definition of origami should be more along the lines of:

Origami is the art of folding paper.

I think this precludes cutting and gluing, and truly is the underlying
basic principle of origami.  I think the word "art" has to be in there as
opposed to "craft", although origami embodies both (as do most artistic
endeavors.)  Any thoughts?   - Bob

      = = =      /| Bob Shuster                           |\      = = =
[>----|-|-|-----/ |   Composer/Arranger/Copyist/MIDI &    | \-----|-|-|----<]
  (___|_|_|____)\ |   Computer Consultant  (215-927-4928) | /(____|_|_|___)
      " " "      \|   (& trumpet!)  (rshuster@netaxs.com) |/      " " "
                   URL  -  http://www.netaxs.com/~rshuster





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 15:00:29 -0300
From: JRMetzger@aol.com
Subject: Re:  Cows on FAX

In a message dated 95-09-29 15:12:25 EDT, you write:

>email me and I will retransmit.  If you received it ok then I would greatly
>like some feedback.  I am most interested in your suggestions/opinions of:
>my drawing style, clarity of the instructions, ways to shorted steps when
>redrawing it, improvements, etc..  I will soon begin drawing it on the
>computer for more mass distribution and would like to make any improvements
>then.
>
>Hope you all enjoy it.
>
>
John -
 I definitely enjoyed it! You've combined Adolfo Cerceda's Peacock's
head/legs  with Robert Neale's Elephant's body! It's great!  Your diagrams
were very clear and understandable, I had no trouble following them. My only
suggestion would be to combine steps 1-4 into one, and make it into a
waterbomb base (As in Guiseppe Baggi's Dollar Bill Cat step 1 in OUSA's
"Making More With Money"). This would simplify several steps further down as
well (namely the eliminate the squash fold in your step 5) and is more
intuitive (IMHO, anyway). Look at Cerceda's Peacock in Harbin's "Secrets of
Origami" or Gay Merill Gross's "Origami Workshop" (Formerly "Art of Origami")
or "The Buck Book" by Johnson (where Neale's Elephant is also) to see what I
mean and for diagramming ideas.
 Thank you very much for sharing your creation with us! Good stuff!

Yaacov

PS In step 10, the "equal angles" sign might help - I goofed there my first
try.





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 16:09:42 -0300
From: SharynN@aol.com
Subject: Pricing.  Help!

I have just been hired to create 70 pieces of origami for a wedding rehearsal
dinner.  The paper was given to me -- rice paper -- and I'm making fairly
simple animals like flapping bird, sea turtle, crane, walrus, etc.

How much should I charge?  I can do at least ten of them in an hour.  I have
to have a figure by Friday.  Thanks!

Sharyn





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 16:29:52 -0300
From: "Andrew P. Anselmo" <anselmo@ERXSG.rl.plh.af.mil>
Subject: charging for origami; number of steps, reverse folds, etc.

SharynN@aol.com mentions she had to create 70 pieces of origami for
a wedding dinner. For simple stuff, I'd charge $10/hour; that seems
reasonable.

Might we come up with a folding price list, to set "union rates"
for origamists?  Something based on the difficultly scale, perhaps?
Or number of folds required?

BTW, Sharyn, you are lucky.  I was in Portugal for a friend's wedding,
and when she saw me folding, she said, "Andrew, you simply *must*
make these for everyone in my wedding!  I have no wedding favors,
and I'm desperate!"  So, in 48 hours, I had to fold something like
75 pieces.  Whew!  (And she was a friend, so I couldn't charge
anything; yes, she still is my friend...)

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
  WWW: http://thermsa.eng.sunysb.edu/~anselmo/anselmo.html
-------------------------------------------------------------------------------
           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.





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 17:53:32 -0300
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: Origami site

Hi y'all
        For those of you who are capable of browsing the net and access
vrml files, there is a interesting web sit that you might want to visit.
This site is located in Japan:

   Linkname: Interactive Origami in VRML
   Filename: http://www.neuro.sfc.keio.ac.jp/~aly/polygon/vrml/ika/

I cannot browse vrml files, so I cannot give you any comments.

Ciao,
--
Yusri Johan (gs01yyj@panther.gsu.edu)
Georgia State University
http://www2.gsu.edu/~gs01yyj/
Origami Page: http://www2.gsu.edu/~gs01yyj/origami/origami.html





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 18:01:19 -0300
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: Tools in Origami

Doug wrote,

> Not that this was central to your point, but I'd like to make a tangential
> journey...
>
> While it is hard to define origami precisely, I think one reasonable
> attempt is to say: origami is a constrained set of operations upon paper.
> Without going into the definition of just what paper is, or what the
> operations are, I think a case can be made that those operations are not
> *necessarily* dependent on any characteristics of the operator.  And I would
> argue that they *should not* be.

OK I will jump in.  What I understand of the meaning is very idealistic.
It says that origami is _not_

    1) the instructions that are followed
    2) the tools that are used
    3) the choice of paper

So I imagine that what is left is a sort of "Origami Model" (OM) for us to
meditate on and (perhaps) use in designing programs to design origami (?)
Quite seriously, it is a beautiful and appealing idea.  But it must not
be confused with real origami which involves all of (1)-(3) and probably
more as well.  Just to be a bit contentious, I suggest that a true "Zen
of origami" has got to deal with the realities of present day materials
(little squares of unforgiving and/or uncooperative paper we have to
manipulate with our fat hands.)  This is often worked into instructions
by way of a note about paper sizes and types with a note here or there
about complexity to warn the practitioner of our ancient and honorable
art that the paper may not want to do some of the steps easily.

                                  ... Mark,
                                 playing devil's advocate

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Tue, 3 Oct 1995 18:28:24 -0300
From: tibbs@tiac.net (Bob Thibodeau)
Subject: EPS with Ghostscript?

I just figured out how to get Ghostscript to work in Windows. Is it
possible to create .eps files with it? My other graphics package can handle
those.

TIA
Bob
+++++++++++++++++++++++++++++++++++++
Bob Thibodeau           http://www.tiac.net/users/tibbs/index.html
"Although you are not Shariputra, you should rise and dance!"
                                               -Nichiren Daishonin
"We Bobs hate to be overly dependent on others. We like to manage our own
fate."        -Bob Keeshan (Capt. Kangaroo)





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 00:14:09 -0300
From: Kellie Elizabeth Cass <KELLIECASS@delphi.com>
Subject: testellations / quilts

   I just saw the new issue of OUSA and fell in love with
Chris' testellations and origami quilt.
   Where can I learn more about testellations and origami
quilts? I've never seen either of these in books and love
them.
   Thankyou somuch.
                               Kellie





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 05:51:47 -0300
From: piu1868@cdc8g5.cdc.polimi.it
Subject: dragon.jpg (0/2)

Hi, All..
Thank you for your many answers to my question about the winged
dragon. I have found the picture I was talking about. I am sending
it to you, so that you may see if you know exactly where I could
find it. Maybe you can also figure out how to fold it, just looking
at the picture...(is it possible? or is it too hard?)
Thank you
Alessandro





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 06:30:56 -0300
From: galeap@ozemail.com.au (Paul Galea)
Subject: Re: Pricing.  Help!

>I have just been hired to create 70 pieces of origami for a wedding rehearsal
>dinner.  The paper was given to me -- rice paper -- and I'm making fairly
>simple animals like flapping bird, sea turtle, crane, walrus, etc.
>
>How much should I charge?  I can do at least ten of them in an hour.  I have
>to have a figure by Friday.  Thanks!
>
>Sharyn
>

Sharyn,

$10 bucks an hour would be a reasonable starting point. Whether or not it is
prudent to charge would depend upon whether or not you are related to the
Bride or Groom, and if so which mother in law you will be offside with for
the next twenty years or so.





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 10:14:39 -0300
From: James_Sakoda@Brown.edu (James Minoru Sakoda)
Subject: Origami Flower Arrangement book

I discussed some of the content of my Origami Flower Arrangement book,
which is now out of print, and mentioned that I had only a few copies left.
I also outlined some of the changes I had in mind, and said that the
revision might take a little time, at the rate I was going.  A few of you
have asked whether I would be willing to sell them.
        I have decided to sell eight copies plus a pack of 50 ten inch
square foil paper that I selected as suitable for folding flowers and stem
and some poster boards already cut for folding vases.  It makes sense to
sell these two together since the flowers can best be folded with foil
paper of the right weight, color and dull (matte) finish.  The price for
the book is $15 and $7.50 for the pack of material.  I will also add some
details about the changes that I plan to make.  For example, the size of
the paper for stems will be increased to make sturdier stems.  To the
square box I am adding a five sided one for the vase.  It turns out to be
sturdier than the square one, and provides for more variety.  I will accept
orders  in the order in which I receive them and send by E-mail indications
of acceptance so that payment can be sent.  The address is James M. Sakoda,
411 County Road, Barrington, RI 02806.  No foreign orders, please, since
payment and mailing become too complicated.  I will take care of mailing
the packages out.  Bye for now.  Jim Sakoda





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 13:33:18 -0300
From: ACPQUINN@myriad.middlebury.edu
Subject: RE: testellations / quilts

Kellie and others -
I have copies of directions for some of Chris' tesselations, but I'm not sure
I have a good enough excuse to give them out... I'd have to make sure it was ok
with Chris first.
Just fyi - making these tesselations is very difficult ... they are in no way
simple models.
Perhaps Tom Hull has some input on where to find directions or crease patterns
for tesselations, since I know it has been something he has been working on.
Tom?

-Alasdair
acpquinn@myriad.middlebury.edu





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 13:37:49 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: polyhedral models looking for a good home

A friend, George Hart, sent me the following message.  I am passing it
on to the list in the hopes that some of you can help.  I know it's
not origami, but any of you who are into modulars will enjoy taking a
look at both of the web sites mentioned below.  It's probably best if
you can use Netscape.  My husband reports that when he looked at the
chasey site with Mosaic, only a couple of the pictures came through
properly.  These models are really great.

        -- jeannine mosely

The maker of a large collection of very attractive polyhedra is
looking for an appropriate institution interested in displaying
it.  If you are interested, or you have any suggestions for a
site, please see the pictures and information at this web page:
         http://www.li.net/~george/chasey.html

George Hart
http://www.li.net/~george/pavilion.html





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 14:54:16 -0300
From: Sheila Davis <sew@hpfisew.fc.hp.com>
Subject: Creating Origami?

        I just got my copy of "The Paper" (interesting new title), and
        in the back, under the classifieds for The Origami Source, they
        list "Creating Origami" by Nolan.  I've not seen this book
        around.  Does anyone have it?  Any reviews?  Is it published in
        the US, and if so, by whom?
Regards,

  Sheila Davis        Hewlett-Packard IC Business Division
 sew@hpfisew.fc.hp.com          Fort Collins, Colorado





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 15:20:42 -0300
From: dzimm@nando.net (David Zimmerman)
Subject: Re: testellations / quilts

"> ACPQUINN@myriad.middlebury.edu wrote ..."
>
> Kellie and others -
> I have copies of directions for some of Chris' tesselations, but I'm not sure
> I have a good enough excuse to give them out... I'd have to make sure it was
     ok
> with Chris first.
> Just fyi - making these tesselations is very difficult ... they are in no way
> simple models.

But they've only a few simple creases!   :-o

On a simple 4x4 twisted squares model, I've been known to take the better part
of an hour putting in the creases, and then 2 hours trying to collapse the
     squares.

I recently succeeded in doing a 2x2 octagan/square tess (from the first
page of Chris Palmer's paper), that's just begging to have some flower
towers put into the octagons, but I'm nervous about scxrewing them up.
It took me a long time to crease the thing and longer time to
crumple..er... get the thing to collapse.  Oh well, eggs and omlets I
guess.

> Perhaps Tom Hull has some input on where to find directions or crease patterns
> for tesselations, since I know it has been something he has been working on.
> Tom?

He's the one that got me started, for which I'll never forgive him. I no longer
do any origami that looks like origami (you know, birds, lady bugs and the
     like).

--
David P Zimmerman             dzimm@nando.net
916 Riderwood Ct               919 557 7692
WillowSpring NC 27592

"It's always Beach Party Barbie, or Malibu Barbie....  That shit does not
prepare you for the true horror of a real woman's life.  Where is Single,
Abused, Trailer-Park Barbie?"             - Roseanne Arnold





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 15:09:57 -0300
From: jnoll@su19bb.ess.harris.com (John Noll)
Subject: Re:  Cows on FAX

JRMetzger wrote:
>  I definitely enjoyed it! You've combined Adolfo Cerceda's Peacock's
> head/legs  with Robert Neale's Elephant's body! It's great!...

Thanks.  I have never seen Cerceda's Peacock's, I will have to look it up.
Actually the head came from the traditional origami frog (minus the front
legs)  The inspiration came from making a frog and asking someone what it was.
There reply was "Its a cows head, but what are those things" (they ment the
front legs).  After looking at it myself, it did kind of look like a cow
if you delete the front legs and turn it upside-down.  I have gotten in the
habit of not telling people what I'm making.  Besides building the suspense,
it also allows me to see what it looks like from someone elses eyes.  Often
if I do one animal, say a pelican, someone will see another animal, like say
an eagle (hopefully another bird but maybe not a pelican).  If I can figure
out why they see what they see then I can begin to understand two things:
1) what is it that defines an eagle.  What are the main aspects of an eagle
that make it recognizable.  This is what you have to capture to make a
recognizable model.
2) what is wrong with the model I did.

I also often ask someone to guess what it is going to be before it is done.
If I can see why they see something then I can often change the remaining
folds to create what they saw and then I have a new model.  I know there
were a lot of see,saws in there but I hope you got my meaning.

Does anyone else do this?

> ... Your diagrams
> were very clear and understandable, I had no trouble following them. My only
> suggestion would be to combine steps 1-4 into one, and make it into a
> waterbomb base (As in Guiseppe Baggi's Dollar Bill Cat step 1 in OUSA's
> "Making More With Money"). This would simplify several steps further down as
> well (namely the eliminate the squash fold in your step 5) and is more
> intuitive (IMHO, anyway). Look at Cerceda's Peacock in Harbin's "Secrets of
> Origami" or Gay Merill Gross's "Origami Workshop" (Formerly "Art of Origami")
> or "The Buck Book" by Johnson (where Neale's Elephant is also) to see what I
> mean and for diagramming ideas.
>  Thank you very much for sharing your creation with us! Good stuff!
>
> Yaacov
>
> PS In step 10, the "equal angles" sign might help - I goofed there my first
> try.
>
>
Thanks for the great suggestions.

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





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 16:01:29 -0300
From: Doug Philips <dwp+@transarc.com>
Subject: Re: testellations / quilts

I just wanted to point out (POIT! Ah, that is what Pinky means!  But that's
not important right now, back to the subject) that there is some tessellation
stuff published in the Japanese Origami Magazine ORU.  I don't have them in
front of me, but I think issue #6 had some.  I'll try to remember to look
through them soon and post details.  I think that the BARF (Bay Area Rapid
Folders) newsletter has also had some, but again I don't have specific issue
info at my fingertips.  As far as I am personally aware, those are the only
two published sources for tessellation/quilts stuff.

-Doug





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 16:53:08 -0300
From: dzimm@nando.net (David Zimmerman)
Subject: Re: testellations / quilts

Doug Philips wrote ...
>
> As far as I am personally aware, those are the only
> two published sources for tessellation/quilts stuff.
>
Chris Palmer's paper, and Tom Hull's Imigiro stuff, though I don't
know if that counts as published.

--
David P Zimmerman             dzimm@nando.net
916 Riderwood Ct               919 557 7692
WillowSpring NC 27592

 "It appears that the rioters and looters [in L.A.] are going to
 suffer for their misdeeds:  the government intends to "help" them!
 Seems a bit harsh to me, but I've always had these bleeding-heart
 tendencies."  --Paul Zrimsek in private correspondence





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 17:49:37 -0300
From: hull@hypatia.math.uri.edu
Subject: Re: testellations / quilts

        Hi boys and girls,

        In regards to origami tessellations, there is very little
published.  The following is the only book I know of which covers
this subject:

"Seizo soru orrigami asobi no shotai" (An invitation to creating with
origami) by Shuzo Fujimoto, publ. by the Asahi Culture Center, 1982,
pp. 156-167 and 182-198.  (Sorry, no ISBN, not that I can read, anyway!)

        Good luck trying to find this book.  It's out of print, and
even when I was in Japan recently I had a very hard time finding a
copy.  But this book "started it all" in a sense.  It's the first
exploration that I know of which presents origami tessellations.
(All are from square, triangle, and hexagonal tiling patterns.)
        Paul Jackson, in his "Encyclopedia of Papercraft Techniques"
mentions this style of origami and shows pictures of some of
Fujimoto's and Kawasaki's work.  It was this appearence that
first exposed Chris Palmer to the subject, and since then he
has been expanding the field of origami tessellations by leaps and
bounds.  Many of Chris's models have graced the pages of the
BARF (the Bay Area Rapid Folders) Newsletter.  Jeremy Shafer
is the current editor, and back issues can be obtained from him.
        Other than BARF and a few models in various Annual Collections,
there's not a lot of diagrammed origami tessellations out there.
But for those who like to hunt I'll give a reference to an article
by Kawasaki and Yoshida which contains four excellent OT crease
patterns:

"Crystallographic Flat Origamis" by T. Kawasaki and M. Yoshida, in the
Memoirs of the Faculty of Science Kyushu University, No. 43, 1988,
pp. 153-157.

        Several years ago I described the contents of this article
on this list.  Although my description of the math was slightly
inaccurate, interested people might enjoy looking it up in the
archives.
        The good news is that Chris Palmer is (as we speak!) working
on a whole book of his tessellation goodies.
        Other good news is that the Proceedings of the Second Meeting
of Origami Science should contain articles by Chris and Paulo
Baretto (another tessellation expert).  NOTE:  this proceedings
has NOT been published yet!  It's coming, but I don't know when!
Keep your eyes peeled.

        As for origami quilts, all I know is that Chris has been
experimenting with folding cloth.  I've never seen a publication
talking about that, however.
        Good luck!  There are lots of people interested in
origami tessellations, so hopefully we'll soon see more
appear in publications.

------------ Tom "talkin' loud and saying nothin'" Hull





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 19:02:25 -0300
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: Re: testellations / quilts

David,
    When you refer to Chris Palmer's paper, are you referring to the
one presented in Japan last year? As far as I know, only the abstract
has been published.

Rona





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 19:49:47 -0300
From: Rjlang@aol.com
Subject: Re: Tools in Origami

> Origami is the art of folding paper.
>
> I think this precludes cutting and gluing, and truly is the underlying
> basic principle of origami.  I think the word "art" has to be in there as
> opposed to "craft", although origami embodies both (as do most artistic
> endeavors.)  Any thoughts?   - Bob
>

Since "origami" (the activity, not the name) is, depending on who you talk
to, ten or fifteen centuries old in Japan, it's important to remember that
for the vast majority of origami's existence, cutting was used without qualm
(as well as multiple sheets, non-square paper, etc., etc.). So I get kind of
nervous when people start arguing over what constitutes "true" origami. The
concept of "fu-setsu sei-hokkei ichi-mai ori" (from-square, one-sheet,
no-cuts folding) as the defining characteristics of the art is a relatively
recent development. It's a concept that developed with (and drove) the
technical developments of the past thirty years; once it became clear that
ANYTHING could be folded in this style, it became more important to design
that way (sort of like "Everest without oxygen").

There is no question that origami has evolved tremendously from its
historical roots into many different directions that are not part of
traditional origami: modulars, two-tone folds (there are no Zebras in the
Kan-no-mado!), and dinosaur skeletons are all pretty far removed from
historical origami. Are they really origami? Sure -- they're all folded
paper. Are they all "interesting"? Depends on who you talke to. I happen to
like FSSHIMO myself, but there are people who hate the models I like and vice
versa.





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 21:02:55 -0300
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re:  Cows on FAX

-- [ From: Janet Hamilton * EMC.Ver #2.10P ] --

> I have gotten in the  habit of not telling people what I'm making. >
Besides building the suspense, it also allows me to see what it
> looks like from someone elses eyes.

> Does anyone else do this?

I have recently been working my way through Montroll's _North American
Animals in Origami_.  I have been so pleased with how realistic the
models look that I have been quizzing my family to see if they can
identify the animal.  If they guess right, I assume I did the model
correctly.  There has been one notable failure, though - the Pheasant's
tail would not come out right no matter how I tried. When I submitted
it for their analysis, the unanimous opinion was that it was a winged
dragon.  Maybe it will provide a "jumping off point" for some future
creativity.

Janet Hamilton





Return-path: <origami-l@nstn.ca>
Date: Wed, 4 Oct 1995 22:01:13 -0300
From: Yan Lau <lau@wharton.upenn.edu>
Subject: Re: dragon.jpg

With profound insight and sensitivity, piu1868@cdc8g5.cdc.polimi.it writes:
>
> Hi, All..
> Thank you for your many answers to my question about the winged
> dragon. I have found the picture I was talking about. I am sending
> it to you, so that you may see if you know exactly where I could
> find it. Maybe you can also figure out how to fold it, just looking
> at the picture...(is it possible? or is it too hard?)

This Winged Dragon looks like one by Robert Neale that is published in
"Mythical Beings" by Jay Ansill.

Yan.





Return-path: <origami-l@nstn.ca>
Date: Thu, 5 Oct 1995 00:22:48 -0300
From: Kellie Elizabeth Cass <KELLIECASS@delphi.com>
Subject: Re: testellations / quilts

On  4-OCT-1995 13:29:33.4 origami-l said to KELLIECASS
   N Kellie and others -
   N I have copies of directions for some of Chris' tesselations,
   N but I'm not sure I have a good enough excuse to give them
   N out...
   I'm not trying for copyrite infringement. Can I buy them
someplace?
   Thankyou so much.

.                                                          Kellie

`[1;35;42mRainbow V 1.17.0 for Delphi - Registered





Return-path: <origami-l@nstn.ca>
Date: Thu, 5 Oct 1995 09:43:44 -0300
From: James_Sakoda@Brown.edu (James Minoru Sakoda)
Subject: Re: Origami Flower Arrangement book

>I discussed some of the content of my Origami Flower Arrangement book,
>which is now out of print, and mentioned that I had only a few copies left.
>I also outlined some of the changes I had in mind, and said that the
>revision might take a little time, at the rate I was going.  A few of you
>have asked whether I would be willing to sell them.
>        I have decided to sell eight copies plus a pack of 50 ten inch
>square foil paper that I selected as suitable for folding flowers and stem
>and some poster boards already cut for folding vases.  It makes sense to
>sell these two together since the flowers can best be folded with foil
>paper of the right weight, color and dull (matte) finish.  The price for
>the book is $15 and $7.50 for the pack of material.  I will also add some
>details about the changes that I plan to make.  For example, the size of
>the paper for stems will be increased to make sturdier stems.  To the
>square box I am adding a five sided one for the vase.  It turns out to be
>sturdier than the square one, and provides for more variety.  I will accept
>orders  in the order in which I receive them and send by E-mail indications
>of acceptance so that payment can be sent.  The address is James M. Sakoda,
>411 County Road, Barrington, RI 02806.  No foreign orders, please, since
>payment and mailing become too complicated.  I will take care of mailing
>the packages out.  Bye for now.  Jim Sakoda
I can send a copy of my out of print Flower Arrangement Book and a package
of paper to the following:  Mike Kennon, Doug Philips, Gretchen Klotz,
Yusri Johnson, cisco, Kevin Nara Park, Michael Bourgain, MKFire, Aimee
Miura.  Please send me a check or postal money order for $22.50, and I will
be sending the book, folding material and some additional notes on changes
that I am planning.  Thanks for the prompt reply.  I'm sorry that that's
all I can handle at the moment.  Hopefully I'll get on with the business of
working on a revision.  James M. Sakoda, 411 County Road, Barrington, RI





Return-path: <origami-l@nstn.CA>
Date: Thu, 05 Oct 1995 10:37:10 -0300
From: ciarlma6@etud.dauphine.FR (ciarlet mathieu)

        One thing I got to say about my definition of origami :
origami is zen. It simply is the essence of spirituality as it transforms a
nothing (a square paper can be called a nothing) into a shaped paper which
embodies something. Thus it's the essence of creation.

        By the way I hate using tools end the less  have to cut papers -
destruction of its selfness- the happier   I am.

        By everybody.

        Mathieu ciarlet
        ciarlma6@etud.dauphine.fr





Return-path: <origami-l@nstn.ca>
Date: Thu, 5 Oct 1995 10:14:00 -0300
From: James_Sakoda@Brown.edu (James Minoru Sakoda)
Subject: Re: Origami Flower Arrangement book

>I discussed some of the content of my Origami Flower Arrangement book,
>which is now out of print, and mentioned that I had only a few copies left.
>I also outlined some of the changes I had in mind, and said that the
>revision might take a little time, at the rate I was going.  A few of you
>have asked whether I would be willing to sell them.
>        I have decided to sell eight copies plus a pack of 50 ten inch
>square foil paper that I selected as suitable for folding flowers and stem
>and some poster boards already cut for folding vases.  It makes sense to
>sell these two together since the flowers can best be folded with foil
>paper of the right weight, color and dull (matte) finish.  The price for
>the book is $15 and $7.50 for the pack of material.  I will also add some
>details about the changes that I plan to make.  For example, the size of
>the paper for stems will be increased to make sturdier stems.  To the
>square box I am adding a five sided one for the vase.  It turns out to be
>sturdier than the square one, and provides for more variety.  I will accept
>orders  in the order in which I receive them and send by E-mail indications
>of acceptance so that payment can be sent.  The address is James M. Sakoda,
>411 County Road, Barrington, RI 02806.  No foreign orders, please, since
>payment and mailing become too complicated.  I will take care of mailing
>the packages out.  Bye for now.  Jim Sakoda

I can send a copy of the out of print of Origami Flower Arrangement and a
pack of folding material to the following:  Mike Kennon, Doug Philips,
Gretchen Klotz, Yusri Johnson, cisco, Kevin Nara Park, Michael Bourgain,
MKfire, Arimee Miura.  Will you send $22.50 in check or postal money order
form to 411 County Road, Barrington, RI 02806.  I will also send some
information on changes that I have decided to make, which I am working on
now.  Sorry that's all I can take care of now.  Jim Sakoda.





Return-path: <origami-l@nstn.ca>
Date: Thu, 5 Oct 1995 10:34:07 -0300
From: dzimm@nando.net (David Zimmerman)
Subject: Re: testellations / quilts

GURKEWITZ@WCSUB.CTSTATEU.EDU wrote ...
>
>
> David,
>     When you refer to Chris Palmer's paper, are you referring to the
> one presented in Japan last year? As far as I know, only the abstract
> has been published.
>
I'm looking at it now. I can't tell where he published/presented it
if at all. I borrowed this copy from Courtney Spooner.

Extruding and Tesselating Polygons from a Plane
Chris K Palmer

Abstract
The first half of this paper will discuss and present examples of four
catagories of fold patterns: a. Twist b. Collapse c. Iso-Area d. Infinite
Progression. The second half will show patterns that are combinations of
the four catagories. The concept of grafting which produces some of these
patterns will also be presented.

--
David P Zimmerman             dzimm@nando.net
916 Riderwood Ct               919 557 7692
WillowSpring NC 27592           D-17293

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          ` \`| |'/ '
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            ` \Q/ '





Return-path: <origami-l@nstn.ca>
Date: Thu, 5 Oct 1995 11:59:06 -0300
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: dragon.jpg

Where do intro lines like this one come from?

   With profound insight and sensitivity, piu1868@cdc8g5.cdc.polimi.it writes:

I think they must be automatically generated.  I know they are meant
to be humorous, but I often find them offensive, especially, as in a
recent example (on this list), a woman is accused of "studliness".

(Sorry for the non-origami content.)

        -- jeannine





Return-path: <origami-l@nstn.CA>
Date: Thu, 05 Oct 1995 11:56:31 -0300
From: sychen@ENH.NIST.GOV (Shi-Yew Chen \(a.k.a. Sy\))
Subject: Re: Tools in Origami

>Since "origami" (the activity, not the name) is, depending on who you talk
>to, ten or fifteen centuries old in Japan, it's important to remember that
>for the vast majority of origami's existence, cutting was used without qualm
>(as well as multiple sheets, non-square paper, etc., etc.). So I get kind of
>nervous when people start arguing over what constitutes "true" origami. The
>concept of "fu-setsu sei-hokkei ichi-mai ori" (from-square, one-sheet,
>no-cuts folding) as the defining characteristics of the art is a relatively

sei-hokkei should be "sei-houkei" (square)?

Correct me if I am wrong!

---------------------------------------------------
Sy Chen <sychen@enh.nist.gov>
Origami Page - http://www.iia.org/~chens/pprfld.htm
