




Date: Fri, 26 Jan 1996 20:35:27 -0400
From: ACPQUINN@myriad.middlebury.edu
Subject: Re: Brilliant origami?

Origami":
Being in the book business, I know a bit about how distributors work.  Rather
than wait for a book to arrive, and then cataloging it, some distributors will
include listings for books in the catalog which will be active on the release
date.  Publishers release CIP (cataloging in publication) data before the book
is ever published, and that data is used to catalog the book.  Sometimes when
the book actually arrives, it will be slightly different (i.e. in price, size,
imprint, and, a few times, in title).  Therefore you see the book listed as
"available" since the distributor assumes that the publisher's release date is
correct, and by the time you order it and they get it back, it will actually
exist.
Now you, as origamians, know that the release date is not always to be counted
on.  John Montroll's books are somewhat notorious for coming out a few months
after they should have.  This doesn't mean that distributors will remove the
book from their catalogs; rather than re-cataloging the book when it physically
appears, they leave it in and those who order it are made to wait and suffer
while the distributor backorders the book from the publisher.
So what you see in Bookserve or Origami USA's catalog may seem to indicate that
you only have to order the book and you will receive it, but just try it and
you may not get it.  Remember, authors, publishers and distributors are human
like you and me, and they are entitled to a bit of error now and again (and
again and again and again ;) ).
Hope this clarifies things a bit,
Alasdair
acpquinn@myriad.middlebury.edu





Date: Fri, 26 Jan 1996 22:47:13 -0400
From: Tim Kennedy <TKENNEDY@UGA.CC.UGA.EDU>
Subject: Re: start stories (me too)1

Dear friends of the fold:  I often feel as though I got into Origami through
some backdoor. While living in San Francisco (circa 1979), I had a friend who
was a string-figure enthusiast.He showed me numerous "figures" unlike the
typical cats-cradle of my youth.Some of them portrayed narratives consisting of
string images that flowed from topological transformations created from one
simple loop of string fused end to end. Interestingly, there are a series of
base patterns that produce different figures that range from the prosaic to the
cosmological aspects of life.

The many cultures around the world (see "String-Figures from Many Lands" by

Furness - published by Dover)that used the string did not utilize written langu
age or metallurgy. The figures are ancient. Some of the most intricate come fro
m the Eskimoes, whereas the Polynesians have some very elegant and erotic figur
es.

It was a correspondence with an Anglican priest in Scotland who had been a
missionary in Papua New Guinea that tipped me off to parallels between string-f
igures bases and origami bases. I and the priest had some inflated idea that
there might be a universal base for string-figures that would link all this

 cross-cultural material into some unified field theory...Ha! Anyway we had alo
t of fun playing with the sophisticatd topology of this so-called primitive
game.

When I found R. Katz's dollar-bill shirt in the 1987 convention catalogue of th
e Friends of Origami,I had a strong intuitive feeling,something akin to magic,
that I had experienced with string-figures. Origami has been growing on me ever
since and thanks to this list,the many worlds of origami have been blossoming.

If anyone from this list is interested in contacting the International String

Figure Association ISFA write to: Dr. Mark Sherman
                                  ISFA
                                  P.O. Box 5134
                                  Pasadena, CA 91117
They have a very good bulletin but,as far as I know, no access to the internet.
There list of members is quite eclectic and truly international...as is this
one.





Date: Sat, 27 Jan 1996 11:50:31 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: "circle" origami

There are at least 3 French books of circular folding, although I can't
see the appeal myself - as soon as you fold it in half, you're back to
straight lines! However - try thre MFPP & see what their
supplies can do -

Mouvement Francais des Plieurs de Papier
56 Rue Coriolis
75012 Paris
France

Au revoir,

Nick Robinson





Date: Sat, 27 Jan 1996 13:04:13 -0400
From: Paul Leclerc <pleclerc@wsj.dowjones.com>
Subject: Re: start stories (me too)1

At 06:40 AM 1/26/96 -0400, DORIGAMI@aol.com wrote:
>I LOVE the got started stories.....let's have more of them....I have often
>wondered how the popularity of Origami has burgeoned so much in the last 30
>years.....I will keep a file of all of the stories and make a list of them
>when we get a goodly number.  I think we will gain a lot of insights with
>this sort of survey.  Tell us what doing Origami lead to in your life, too.
>Dorigami.

I have you Dorothy, to thank for getting me started with origami.  You gave
an origami class at the Border's bookstore in Princeton, NJ. I had a great
time and have even managed to do a few models from the books :-)   Now I just
have to start memorizing things so I can teach others.

Thanks
Paul Leclerc
---
Paul Leclerc       http://ourworld.compuserve.com/homepages/pel/
Dow Jones & Co., Inc.   pleclerc@wsj.dowjones.com
Voice: (609) 520-7253   Fax: (609) 520-4655





Date: Sat, 27 Jan 1996 13:30:50 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Re: Teaching and mathematics

If you have the patience, try any of Fujimotos self-produced books
(hard to track down, sadly) - there's a real wealth of material if you
persevere with the poor quality!

Nick Robinson





Date: Sat, 27 Jan 1996 13:39:29 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Nice origami fiction released

If you want something aimed at an intelligent child/young at heart
adult, try "The boy with paper wings" by Susan Lowell. Its a story
"a springboard to discussions about maths & science disciplines". She
asked for permission to use some material from my Airplanes book &
there's several (illsutrated) folds woven (pleated?) into the story.

ISBN 1-57131-605-1   Milkweed editions  cost- no idea

Nick Robinson





Date: Sat, 27 Jan 1996 14:02:04 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: How I got started #2341

I read Lucy Wlakers (ripped off Honda) book, then joind the BOS in 83.
It's safe to say the thrill of meeting other folders (and receiving
their unqualified support!) plus seeing new creative work set me off on
this endless quest...

Nick Robinson





Date: Sat, 27 Jan 1996 14:52:26 -0400
From: "Weinstein, Michael" <michaelw@bdg10.niddk.nih.gov>
Subject: Start stories, sure I'll chime in

My start story is really boring, as my mother tells stories about me folding
paper that I can't even remember.  Must've had a knack for it, or something.
The intersting thing (to me at least) is that I never met another folder who
wasn't my kohai until I was in graduate school in LaJolla, California.
Somehow I found out there was an Origami exhibition in little Tokyo in L.A.
(an awesome place to score paper and supplies) and there ran into the first
folders I'd ever met.  Needless to say, Robert Lang was showing off stuff
like his black forest cuckoo clock (all the while saying things like "its no
big deal, you just start with a long rectangle"), and Bennett Arnstein and Lou

Simon were there with unbelievable modulars (I didn't even know what a
modular was at the time).  The coolest thing was that I met Alice Gray, who
I'd been reading about for ages.  So although my Origami beginnings are
shrouded
in the mists of time and memory, my first contact with the greater world of
folding was a real eye opener.

Things have snowballed from there, with the establishment of the San Diego
group and attendence at conventions.  But I doubt I'll ever forget that
first exposure, as it was definitely an adjustment to my world viewpoint.

One of the really neat things about the "Origami World" are the cool people
you meet.  Folders are the most uniformly great people around, which is what
makes convention and regional groups so much fun.  Enjoy.

Michael Weinstein
MichaelW@bdg10.NIDDK.NIH.gov





Date: Sat, 27 Jan 1996 15:06:47 -0400
From: Ingi And T <ingi_t@ATC.AMERITEL.NET>
Subject: Grasshopper Question

>Re:  functional origami - leather
>
>Origami should avoid dead animals, IMH veggy O...
>
>Nick Robinson

Yes, sadly, I must agree, after Thursday's and Friday's folding fun.  In my
hand, right now, I have a head of the grasshopper in Robert Lang's The
Complete Book of Origami, folded from a waterbomb base.  Yes, it's
definately demented - it will never breathe, never hop, never know the joy
of climbing.

/***
 *** { Folders, open "The Complete Book of Origami" by Robert Lang
 ***   to page 42, now, and examine step #7. }
 ***/

When Nick mentioned dead animals, it immediately reminded me of the
definately dead grasshopper head I had folded, in the hopes of figuring out
exactly where the creases were in step #7.  Thursday, I folded the
grasshopper (getting past step #19, where I had gotten stuck a year or so
ago).  When I got done, I looked at it and thought, "Ugh, that's some sloppy
folding."  So I decided to fold it again (my best friend assures me that
grasshoppers aren't yellow anyway).

Friday, after crunching the new purple paper several times trying to get
step #7 to work, I find it hard to believe that the crumple in the center of
the sink is the way it is supposed to be.  So I looked at the diagram and my
model and decided that the right triangle in the diagram was just a
waterbomb base.  Perhaps if I "blew up" the problem, it would be clearer,
and I could analyze it from both the inside and outside clearly.  So thus my
grasshopper head (had to see if the m-shaped crumple would work to the end
of the model).  It does, but it still just does not seem "right".

Could someone shed some light on the sink?  What are the creases supposed to
look like if you pretend the view is from the sink arrow?  Is the valley
fold shown 1/3rd of the angle between the mountain fold of the sink and the
edge of the paper?  Is the top of the mountain fold (the line that connects
the top points exactly horizontal to the bottom of the waterbomb base?  How,
exactly, is the center supposed to fold into itself?  Is there an easy way
to do this step that I am overlooking?

Hmmm.  Perhaps it would be easier if someone would fold the sink to step 8
out of a waterbomb base and send it to me via snail mail.  Please help...

T in Maryland
ingi_t@atc.ameritel.net

"This heart within me I can feel, and I judge that it exists.  There ends
all my knowledge."  Albert Camus





Date: Sat, 27 Jan 1996 18:04:48 -0400
From: "David M. Dewey" <dmdewey@yrkpa.kias.com>
Subject: How I Started

I just returned to my start in origami. This past Christmas I
folded the creche scene from Harbin's Secrets of Origami. This was one of
the first models I folded when I started origami 20+ years ago in New
Jersey. I was attending graduate school at Rutger's when I stumbled upon
this book at the local library. I knew nothing about origami at that
point - the book just made it look like a neat (now kewl) thing to do. As
a beginner I struggled through the creche scene models using foil
wrapping paper.
        Well, we still display that creche every Christmas. Last year I
decided to refold the creche because it was beginning to show its age. I
had forgotten where I found the model, so I posted a message on here
which resulted in one of the members graciously mailing me copies of the
models. The models were a 'little' easier to fold this time. However, the
old creche may have to serve another year because I gave the new one away
to one of our parish priests.

                              Dave
                              dmdewey@yrkpa.kias.com





Date: Sat, 27 Jan 1996 18:15:16 -0400
From: Pruess Family <AB10TP3412.cin@desnews.com>
Subject: How I started

     Origami started for me when I was about 3 or 4, and I'm now 15.  I learned
things from my dad and then we bought some books, which I cannot find right now,
so I don't really know anything about them.  They had many simple models, but it
was neat.  Lately, from suggestions for books on this list, I've checked some
stuff out of the local library, but still, I don't own any more books.  (Part of
that comes from the fact that when you are 15, money isn't easy to come by.)
     Anyway, there's my 2 cents.
     Have a great day!

John Pruess
utahjohn@aol.com
ab10tp3412.cin@desnews.com

"When people disagree with me,
 My argument's not strong.
 I grant their sacred right
 To be knotheaded, blind, and wrong!"

      - Anita Dornich





Date: Sat, 27 Jan 1996 20:25:09 -0400
From: PamGotcher@aol.com
Subject: Re: Moravia

Hi - I'm incredibly behind in my posts - but I wanted to say that the
Moravian Star is something that you will find a lot of in Old Salem, NC,
which was originally a Moravian village.  I can dig up the history, but I
won't bore you - suffice it to say that they were a group of Germans who were
searching for religious freedom.  I have one packed somewhere in storage from
a visit.  Possibly I can find it and send it to the original poster of the
question - if they'll contact me by private email.
Pam





Date: Sat, 27 Jan 1996 20:33:23 -0400
From: MJNAUGHTON@amherst.edu
Subject: Re: OR Origami Levels

Michael Weinstein recently replied to my "pet peeve":

> -Why discourage people from getting in "over their heads"
> (there, I'm paraphrasing) Try to teach a Lang insect to
> someone who can't fold a bird base and you'll see why.

All right, you got me! However, if we can agree that perhaps
there is a difference between jumping into the deep end of
the pool and being tossed off a ship in the middle of the
Atlantic Ocean, maybe we can agree that my question still
has merit. After all, isn't there some value in trying to
stretch oneself every once in a while. Isn't that a good
way to grow? Isn't the annual convention a good place to
do this (or shouldn't it be?).

My fear is that people will be scared off from trying things
that they _are_ able to do (maybe they just don't know it)
and that they would enjoy. Janet Hamilton's comment seems to
confirm that this fear is real:

> My first couple of times attending all the warnings just
> served to make me nervous and afraid to try the classes
> that looked really interesting.  I think it has also
> put my son off from coming to the convention with me.

And speaking of insects, I've never taught a Lang one, but
I did once lead an origami beginner (an otherwise very
talented individual) through Montroll's Stink Bug. It took
three hours, and there was some heavy going, but the upshot
was that he had a model that he later showed off at a party
(I heard about this second-hand) with great pride. Are you
suggesting that I should have told him that unless he could
demonstrate a double-sink fold I wouldn't bother with him?
(I hope not!)

Mike Naughton





Date: Sat, 27 Jan 1996 20:38:02 -0400
From: MJNAUGHTON@amherst.edu
Subject: Re: Teaching and mathematics

Recently, while discussing using origami to teach math, Tom Hull
wrote on the subject of Sonobe modulars:

> Second, you can start with the 6-piece "cube" (actually, it's a
> tetrahedron). . . . Third, the final objects the Sonobe Unit makes
> don't *really* look like what they're representing.  E.g.,
> . . . the 6-piece "cube" is really a tetrahedron with pyramids
> placed on each face! . . . .

Oops! Tom, I don't mean to be a nit-picking pedant (however, that
won't stop me!), but I think what you meant is not that the cube
is "really" a tetrahedron, but that it is _"also"- a tetrahedron
with pyramids on each face. The trick is that the pyramids have
apex anges of ninety degrees (I've called them "orthoganal
pyramids"), so in effect the stellated tetrahedron is _the same as_
the cube. (and in case Jeannine Mosely is listening, I'll hasten
This property of the Sonobe modulars, of course, can be used to
explain the issues involved with using them to build models based
on polyhedra with triangular, square, pentagonal, etc. faces.

Mike "pretty good for not trying" Naughton





Date: Sun, 28 Jan 1996 01:40:40 -0400
From: PenneyA@aol.com
Subject: Re: start stories

Here's my origami history,  I got my first book when I was 8 years old, for
my birthday.  There were already folded examples on each page.  I loved it.
 When I was about 13, I couldn't do the bird base and that really held me
back.  A friend showed me how and that opened all the doors.  I was a member
of Friends of Origami back in 1983 when I was 32.  I didn't fold constantly
all through the years, I quit for years at a time.  I started working on the
assembly line and when the line was down I started folding stuff and gathered
quite a crowd.  I am now almost 43 and have come a long way, folding on and
off through the years.  My latest accomplishment was Lang's wonderous ant.  I
make various dollar bill folds ahead of time and leave them as tips in
restaurants.
                                                Penney





Date: Sun, 28 Jan 1996 01:46:49 -0400
From: Bill Hall <billhall@computek.net>
Subject: Re: How I Started

David M. Dewey wrote:
>
> I just returned to my start in origami. This past Christmas I
> folded the creche scene from Harbin's Secrets of Origami.

That's the book that started me out. About 15 years ago, I checked Secrets of
     Origami out of the
Lewisville, TX public library, and began to fold the models out of notebook
     paper. A couple of
years later, I helped to found the Lone Star Origami Club, which still exists.
     I haven't folded
as much in the last 5 years, but I'm getting back into it.

BTW, if anyone on this list is in the Dallas area, there is an exhibit of
     origami at the central
branch (downtown) of the Dallas public library, on the 4th floor. It consists
     of three display
cases of models, mostly of Robert Lang's animals, folded by Mike Henderson, who
     lives in a suburb
of Dallas.

Good work, Mike. I saw it today, and you did a good job.

--
Eschew obfuscation.
Bill Hall <billhall@computek.net>
Dallas





Date: Sun, 28 Jan 1996 02:57:15 -0400
From: Kevin Thorne <c598033@showme.missouri.edu>
Subject: Re: Phoenix?

>       Time for yet another model request.
>       With the discussion of fanciful animals, I got to wondering if
> anyone out there has a model of a phoenix.  And before you start, I'm not
>

In Kasahara's Origami Omnibus there is a diagram of a completed phoenix
made from a bird base, however there are no instructions.





Date: Sun, 28 Jan 1996 09:36:15 -0400
From: Mary Ellen Verona <mverona@goober.mbhs.edu>
Subject: Re: OR Origami Levels

It's interesting that Mike Naughton mentioned Montroll's Stink Bug -
and not being able to do sinks.  I just bought Montroll's book
(along with Unit Origami and Art of Origami).  The Stink Bug was the
design that really caught my eye.  But - I decided that I needed to
wait until someone can show me how to do sinks.  Unless there is a
great reference somewhere (And I will make it to a DC meeting sooner
or later)

And keep up the math talk!
--
Mary Ellen Verona  mverona@goober.mbhs.edu  301-650-6520  FAX:
650-6692
/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\/\
/\
||<<    Maryland Virtual High School of Science and Mathematics
>>||
||<< Blair Magnet Program, 313 Wayne Avenue, Silver Spring, 20910
>>||
||<<                 http://www.mbhs.edu/mvhs.html





Date: Sun, 28 Jan 1996 09:42:48 -0400
From: ROBINMACEY@aol.com
Subject: Origami Computer Fonts Wanted

Has anyone ever created a truetype font for windows based on a real origami
alphabet? This would be very useful for using on posters advertising origami
events.

Alternatively can anyone tell me of any easy to use software for the PC which
could  take a scanned bitmap image of some origami letters and create a
truetype font for windows. Is anyone interested enough to have a go at this
exercise? I can supply artwork for 3 different origami alphabets.

Finally has anyone ever written any animated screen savers based on origami?
If so I would love to obtain a copy.

Cheers

Robin Macey  (Nottingham, England)
robinmacey@aol.com





Date: Sun, 28 Jan 1996 09:48:32 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Re: Phoenix?

I created a large (8 foot) phoenix for a display once - no diagrams
survive. I do have diags for a birdpase Phoenix with flames, they can
be scanned & sent if you're really* keen...

Nick Robinson





Date: Sun, 28 Jan 1996 09:50:30 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: New Philip Shen design available

As a fan of Shen's work for many years, I'm pleased to let you know he
has a couple of new designs & I've started to draw them up. The
first is ready & I'd appreciate someone proofing it for me. I can send
a UU gif by return....

As ever, it's a geometric design, a cube-ish dish. Not perhaps as
stunning as some of his earlier work, but neat nonetheless. If you have
never seen his work, check out Randlett's classic books (yes, he's been
on the go *that* long :) or even better, the BO booklet of his
stunning work.

Nick Robinson





Date: Sun, 28 Jan 1996 11:36:06 -0400
From: Michael Adcock <adcock@Menudo.UH.EDU>
Subject: Re: Origami Computer Fonts Wanted

>
> Has anyone ever created a truetype font for windows based on a real origami
> alphabet? This would be very useful for using on posters advertising origami
> events.
>
Sorry, I don't know of any origami computer fonts.

Could anyone suggest a source of origami alphabet(s) instructions?
I vaguely remember seeing diagrams somewhere, but unfortunately none of
the books I own have folding patterns for letters...

Thanks,

Michael

-------------------------------------------------------------------------------
"Eliteness is inversely proportional to claims of such" -Kevin Martinez

Michael Adcock (a.k.a. Blackadder)
adcock@menudo.uh.edu





Date: Sun, 28 Jan 1996 13:30:22 -0400
From: Eric_Andersen@brown.edu (Eric, accept no imitations!)
Subject: Re: Origami Computer Fonts Wanted

>Finally has anyone ever written any animated screen savers based on origami?
>If so I would love to obtain a copy.
>

     No, but I've been doing some work in gif construction. It's actually
possible now to have a single gif file be a moving picture on your web page.
They're called gif89's, and I plan to have a flapping bird one up on my
origami page soon. Once I create it, I will make it available for anyone to
download. Unfortunately, I am fairly certain that this a Netscape 2.0
enhancement and cannot be viewed with any other browsers.
     If you want to see one of these really neat moving gifs, point your
browser to:

     http://techhouse.brown.edu/~tech/eric

and let me know if you have any ideas for any other moving origami gifs.

Thanks!

-Eric

.             .     .     .     |--|--|--|--|--|--|  |===|==|   /    i
        .            ___________|__|__|__|__|__|_ |  |===|==|  *  . /=\
__ *            .   /___________________________|-|  |===|==|       |=|
__|  .      .   .  //___________________________| :--------------------.
__|   /|\      _|_|//    ooooooooooooooooooooo  |-|                    |
__|  |/|\|__   ||l|/,----8::::::TONIGHT::::::8 -| | "Don't believe     |
__|._|/|\|||.l |[=|/,----8:::Eric:Andersen:::8 -|-|    a word I say."  |
__|[+|-|-||||li|[=|------8:origami@brown.edu:8 -| |   -Professor Suggs |
_-----.|/| //:\_[=|\`----8:::::::::::::::::::8 -|-|    (in Orgo class) |
 /|  /||//8/ :  8_|\`--- 8ooooooooooooooooooo8 -| |                    |
/=| //||/ |  .  | |\\__________  ____  _________|-|                    |
==|//||  /   .   \ \\__________ |X|  | _________| `---==----------==---'
==| ||  /         \ \__________ |X| \| _________|     ||          ||
==| |~ /     .     \
LS|/  /             \___________________________________________________
                           http://techhouse.brown.edu/~tech/eric/





Date: Sun, 28 Jan 1996 15:17:29 -0400
From: LapinPub@aol.com
Subject: Re: OR Origami Levels

Ok, if I may be so bold, I think that I've got a lot of insight into this one
having been nominated both "worst" and "best" teacher at the conventions for
what must be two years running now (and I think Jan Polish will back me up on
this one) I have a wonderful talent for underestimating both the complexity
of a model and the amount of time it will take to teach to a class.  My first
year teaching I had one young girl break down and cry in my "Andrea's Rose"
class, she was so frustrated by the sinks.  This model is designed
specifically to teach people mastery of sinks and I've sucessfully taught it
to children as young as 8 and old as 80.  But here, in a class of 30 people,
I had a sweet young girl crying at her frustration.  If I was teaching
one-on-one I could have easily spent 15 minutes with her and taught her "the
trick," but I had a whole room of students to tend to and couldn't.  (Instead
I asked her older sister to give her a hand but by then she was too upset to
learn anything)

Since then I've learned a lot about how people "do" and "learn" origami and
have found that it is extremely difficult to teach because in origami there a
rea many differnt learning styles and in a class you must be able to cater to
all of them.  This is why it is suggested that "People not get in over their
heads."  Its not to be exclusive but to protect novice folders from
"tramatizing" experiences engendered by well meaning teachers who are simply
doing their best in a situation that is probaly new to them also.

Part of a teacher's job is to "monitor" the frustration level of the student,
for if a teacher shows (or does) everyting for the student, the studelt will
learn little, and if the teacher lets the student get too frustrated the
student will not be able to learn either.  But in between is a wonderful
place where the studet struggles and succeeds on thier own, and that triumph
not only gains knowledge but a sense of self worth.  So herein lies the
teacher's responsibility for gaging what can be taught to whom.  When you are
working one-on-one, if the student has a commitment to completing the piece,
then I say go for it, the teacher can guide the student (unobtrusively)
though the sections that are beyond the student and still give the student
that sense of satisfaction.  I've done this with small groups (3 students)
who've never folded before teaching a model which required triangular sinks
(I did the sinks they did the rest) but I got thier permission before
starting the piece to let me do that.  But you simply can't do that with a
large group of people.  Which is why, when I teach groups of elementary
students who've never folded before, in insist on at least 1 assistant per 10
kids, either the teacher or teacher's aid or older child who's experenced in
folding, to help the ones that need extra attention.  That way, you can
contol the "frustration level" of the entire group and make sure that
everyone succeeds.

Anyway, enough preaching...That's the way I see it... J.C. Nolan





Date: Sun, 28 Jan 1996 15:51:15 -0400
From: chall@scsn.net (Carol Hall)
Subject: Re: OR Origami Levels

Just my two cents on the `Don't get in over your head' thread.  Everyone who
has posted is correct!

Yes, it is off-putting to see those signs all over the place, scaring the
novice into thinking they cannot do anything.

Yes, it is frustrating to accomplished folders to be in a class being held
up by someown who shouldn't be in there.

The problem with the conventions is that there are so many neat models on
display that people can be easily dazzled, and really want to do something
which they don't yet have the skill to do.  And -- there are attendees who
for whatever reason insist on attending classes they shouldn't.  I can
easily see the reason for the signs.

But we need to remember that the signs were put up by people who know how to
fold and don't want to put up with people trying to "stretch".  Teaching a
group is far, far different from teaching individually.

Maybe the convention should hold an all afternoon session for those who want
to stretch - a high intermediate model for beginners, say.  This would
require ever so many more volunteers as well as more time, but if it could
be organized, it might go over well. (Choice of model would need to be
carefully done -- something to dazzle, but still do-able with lots of help.)

Carol Hall
chall@scsn.net





Date: Sun, 28 Jan 1996 16:27:51 -0400
From: "Weinstein, Michael" <michaelw@bdg10.niddk.nih.gov>
Subject: Re:OR Origami levels

I have to agree with Michael N to a degree.  Sometimes it is necessary to
stretch oneself, and get in "over one's head".  I think the questions here
are degree and setting.

Attending a class for a highly sophisticated model when you can't even manage
a very simple model is probably a mistake.  You won't be able to absorb a lot
of what is offered in such a class, because its too darn complicated, and
that's understandable.  If you're teaching a class and have some students who
don't have the tools to negociate the finer points, it can really have a
negative impact on the experience for everyone.  That's probably where the
dire warnings come from at convention, where most of the teaching is in a
class setting.

I think teaching a sophisticated model to an unsophisticated folder one-on-
one (as Michael N. describes) is more appropriate, because even if the
student can't complete the model (or makes a very messy one), they will have
likely increased their "origami vocabulary", or the retinue of techniques
they are familiar with and can master, due to their interaction with the more
advanced folder.  And their chances of completing the model increase because
of the one-on-one interaction; a mistake can be quickly intercepted and
circumvented, so that it does not effect later stages of assembly (in a class
the poor model can be too far gone before you realize your student has done
anything wrong). In addition, it is considerably easier to show complex
moves one-on-one than to a class.

The other factor I mentioned is degree.  If you can't manage a bird base, you
have no business in a class for a highly advanced model--you just won't get
anything out of it and I think everyone is in agreement about that.  On the
other hand, if you can "manage" intermediate models and want to try and
stretch yourself by learning more complex ones--by all means!  My only
caveat is that you should be sensitive to the needs of those around you.

Its a fairly ticklish question, because you never really know a models'
degree of difficulty until you actually do it.  I think that's why we have
all this chatter on the net about degrees of difficulty; its a tough
question.  Moreover, I've been in the situation of teaching models that were
more complex than I thought (and I would like to post my apologies to my
chess set class of two years ago just for that mistake!).

Of course, there are people who can teach anything to anybody without missing
a beat, and they have my sincerest comendations and envy.

Michael W
MichaelW@bdg10.NIDDK.NIH.gov





Date: Sun, 28 Jan 1996 20:11:50 -0400
From: Rjlang@aol.com
Subject: Re: OR Origami Levels

>>>>
I did once lead an origami beginner...through Montroll's
Stink Bug. It took three hours, and there was some heavy going,
but the upshot was that he had a model that he later showed off at
a party...with great pride. Are you
suggesting that I should have told him that unless he could
demonstrate a double-sink fold I wouldn't bother with him?
(I hope not!)
<<<<

I think the moral here is that a folder's reach could exceed his grasp in a
one-on-one teaching situation, but in a group class, one slow person holds up
the entire group and people should be conservative in estimating their
abilities.

Speaking of things that hold up the entire group, people who try to
simultaneously fold two or three of the thing being taught also slow things
up since the teacher typically won't go on to the next step until the sound
of crinkling paper stops, implying that everyone is done with the previous
step.

Robert





Date: Sun, 28 Jan 1996 21:19:58 -0400
From: DORIGAMI@aol.com
Subject: Re: Crumpled paper! 2

Tom...Two crumpling ideas....Gloria Farison once taught me to making a
hopping  crumpled ball....just crumple a spit ball size piece of paper into a
little ball, then stroke it like a hopping frog and by golly it hops....The
other one is to take a page of newspaper and start at the corner crumpling it
with one hand.  A good therapeutic excersize and a test of skill....(not
everyone can do it)   Just fun stuff......from Dorigami.   (I was at the
banquet dinner table with you the last evening of the convention next to
Florence Tempko





Date: Sun, 28 Jan 1996 22:52:58 -0400
From: DORIGAMI@aol.com
Subject: Re: start stories (me too)2

Paul:  We have a group that meets in Freehold, and a new one that has just
started in Princeton area.....E mail me for more info.  You certainly have
made me happy in knowing I have influenced your Origami life. Selling people
on Origami is my secret mission for teaching.  I want desparately  to share
with others the pleasure it has given me for 34 years   Thanks for telling
me.   Dorigami





Date: Sun, 28 Jan 1996 22:55:32 -0400
From: DORIGAMI@aol.com
Subject: Re: Dozen origami roses 2.

I use stem wire wrapped with floral tape for stems on my money roses.  This
gives a sturdy stem that will stand up nicely in a vase.  I trim the stem to
fit the vase.  Dorigami





Date: Sun, 28 Jan 1996 22:56:44 -0400
From: DORIGAMI@aol.com
Subject: Re: Crumpled paper! 2

Tom, Am very much interested in the crumpled paper theory.  I couldn't get it
on the web.  I got Houle's web site but not with the same http as you put in
you letter.  And I couldn't find the article on crumpling.  Can you advise.
Dorigami





Date: Sun, 28 Jan 1996 22:57:56 -0400
From: DORIGAMI@aol.com
Subject: Re: OR Origami Levels 2

JCNolan
Your words about Origami levels were very interesting.   I don't think I've
had one of your classes but I'll bet you are a good teacher.What is Andreas
Rose and where could I find it.  It sounds interesting.  Dorigami





Date: Sun, 28 Jan 1996 22:59:09 -0400
From: DORIGAMI@aol.com
Subject: Re: OR Origami Levels

Mary Ellen....funny you should mention John Montrolls Stink Bug....I have
been struggling with it for a week.  I have gotten past the sinks but get
lost somewhere a little beyond that.  I will try everyday to work up to where
I got lost and see if I can get another step.  This sometimes works for me.
 Johnathan Baxter in South Carolina is a past master at this stink bug and
makes jewelry from them. He sold them at the convention and I marvel at the
beautiful job he does.  You can purchase them from him.  I love the one I
bought from him and want to make myself another one. Wish me luck. Dorigami





Date: Sun, 28 Jan 1996 23:00:31 -0400
From: DORIGAMI@aol.com
Subject: Re: OR Origami Levels

Michael Naughton....Fancy meeting you here.I envy you making the stink bug.
 It is an incredible model.  I'm going to catch you or John to help me with
it at the convention.....I really want to learn it.  By the way have you





Date: Sun, 28 Jan 1996 23:49:05 -0400
From: Laurie Bisman <lbisman@sirranet.co.nz>
Subject: RE: Origami Computer Fonts Wanted

Samuel Randlett's 'Folding Money' volume two has bill folds for the complete
     alphabet plus numbers.

----------
From:   Michael Adcock[SMTP:adcock@Menudo.UH.EDU]
Sent:   Monday, 29 January 1996 04:38
To:     Multiple recipients of list
Subject:        Re: Origami Computer Fonts Wanted

>
> Has anyone ever created a truetype font for windows based on a real origami
> alphabet? This would be very useful for using on posters advertising origami
> events.
>
Sorry, I don't know of any origami computer fonts.

Could anyone suggest a source of origami alphabet(s) instructions?
I vaguely remember seeing diagrams somewhere, but unfortunately none of
the books I own have folding patterns for letters...

Thanks,

Michael

-------------------------------------------------------------------------------
"Eliteness is inversely proportional to claims of such" -Kevin Martinez

Michael Adcock (a.k.a. Blackadder)
adcock@menudo.uh.edu





Date: Mon, 29 Jan 1996 01:09:43 -0400
From: jwu@cs.ubc.ca (Joseph Wu)
Subject: Re: Intro/Moose pattern?/"circle" origami

>Hello Origami-ans(?)

Either "origamian" or "origamist" is OK, but I personally prefer "paper folder."

>A brief background and intro:  I teach on an American (U.S.)
>military base in the suburbs of Tokyo, Japan and my niece suggested
>last week that I "join" this listserv.

Welcome aboard! It's nice to see that there are other gaijin paper folders
here in Japan. I'm currently based in snowy Sapporo. We've in the middle of
a fubuki as I type.

>A few years ago when my niece got married she asked me for possible
>"favors" for her wedding reception.  I thought it would be neat to
>have origami moose (her "favorite" animal) and I searched many
>bookstores but only found "regular" deers and reindeers.. is there
>such an "animal"... i.e. an origami moose?

There are many moose designs. The most famous is John Montroll's in
"North American Origami", but there is also Robert Lang's (actually, I
don't think that it's been published yet), and others including Kunihiko
Kasahara's.

>At our (elementary) school we have a *big* event every year called
>Nihon Matsuri and many local (national Japanese) "present" different
>aspects of Japanese culture including various forms of origami.  One
>year one of the "presenters" had many interesting "origami" creations
>made from _circular_ pieces of origami paper e.g. a _koi_ (goldfish),
>vegetables, etc.  I asked if there was a book with such samples, and
>altho' I was assured there was and info would be given, I have not
>been able to find here (Japan).

Kasahara has had some designs from circles published, and you can find
them also in Isao Honda's "World of Origami". I assume you already know
about the Origami Kaikan in Tokyo, which has TONS of stuff. Try also to
get in touch with the Origami Gallery House (run by Makoto Yamaguchi).
If you need addresses for any of these, e-mail me back. I don't have them
with me here at work right now.

>TIA for any ideas, info, or help!

Any time!

>Are we having FUN yet?

But of course we are! 8)

 Joseph Wu                      Webmaster of the Origami Page
<jwu@cs.ubc.ca> <http://www.cs.ubc.ca/spider/jwu/origami.html>
  Approach life like a voyage on a schooner. Enjoy the view.
  Explore the vessel. Make friends with the Captain. Fish a
  little. And then get off when you get Home.  --Max Lucado





Date: Mon, 29 Jan 1996 03:13:49 -0400
From: abeshous@pitt.edu (Daniel Abeshouse)
Subject: Re: moravian star?

        I could be mistaken but with 26 points this sounds like a stellated
(in the impure sense of arbitrary pyramids on the faces)
rhombicuboctohedron. Unstellated this has 8 triangular faces and 18 square
ones. It can be oriented to have a top and bottom square face and a band of
8 around the equator. There's one in Fuse's Unit Origami.

Geometrically,
Daniel





Date: Mon, 29 Jan 1996 03:39:31 -0400
From: "M. Schleicher P. Saalbach" <parkmaam@gol.com>
Subject: Re:OR Origami levels

I've been reading with admiring interest about your discussion of how to
teach/learn that's best from the learner's point of view, and that also
includes the desired outcome for both teacher and learner (if only more
teachers thought this way!!  -- this comment stems from my lurking in a
couple of educational listservs).  You folks are *great*!

The comments about using one-on-one for students who want to 'stretch'
themselves are good ones.

.. But how to deal with "people over their heads" in a classroom setting?

Some thoughts:

I. Set up suggested pre-requisite parameters for participation as is done in
schools:
        e.g. "can fold multiple micro-miniature sinks with ease"
        e.g. "can fold a bird base even in your sleep"
        e.g. "can only fold a piece of paper in half, and even then, the
edges         don't meet"

etc.

II. Have a partially folded model you, as a teacher, bring to class, and at
the very beginning of the class, illustrate a little bit about where the
folding gets pretty challenging and then:

1) obtain commitment/consensus from those present that they are ready to
take on the challenge,

2) make it clear to *all present* that this commitment can mean helping each
other so the entire class can proceed at a faster pace,

3) encourage those who feel it's over their head to leave for other less
frustrating but equally rewarding sessions, and

4) suggest that remaining students 'adopt' ones who elect to leave with a
promise of a one-on-one encounter between them sometime during the
convention (this adds incentive for those who shouldn't be there to leave).

This means that folders who have just learned the model and who have elected
to later show a less experienced folder wanting to stretch, have a second
chance to reinforce what they have learned by 'teaching' it in a one-on-one
session. Perhaps an open session for such one-on-one encounters can be
scheduled as part of the conference -- maybe at the end, or just after
lunch, or early evening, or ???

Perhaps this one-on-one open session could also function to identify
possible upcoming teachers for the next year's convention??  A short 10-15
minute period could follow the collective one-on-one session so participants
can reflect on the frustrations/rewards of teaching/learning from the
teacher's and learner's points of view in the mini encounter -- which could
help the teacher volunteers get tips from their peers in this session for
being better teachers next time.

Therefore, all classes would need to schedule in a 5-minute introductory
period as mentioned above that would help accomplish the class' final goal
as well as enable students to switch to other more appropriate sessions.

Thus, I believe, everyone turns out a winner in the above scenario.

Just my 2 cents.

Pamela
parkmaam@gol.com
Pamela Saalbach
parkmaam@gol.com





Date: Mon, 29 Jan 1996 05:22:35 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Re: Origami Computer Fonts Wanted

I've started to create suitable letters, but lack the (expensive!)
software to turn them into TTF's. There is nothing in the shareware
scene to do this, AFAIK..

Nick Robinson





Date: Mon, 29 Jan 1996 07:48:02 -0400
From: "Sergei Y. Afonkin" <sergei@origami.nit.spb.su>
Subject: Re: Origami Computer Fonts Wanted

Dear Robin!

It seems to me that when next time I wisit G.B. you will be
great expert in origami computering and show me something
interesting. Up to now I continue to draw by hand in spite I
already have Windows and Corel Draw 4

Your Sergei Afonkin





Date: Mon, 29 Jan 1996 10:57:16 -0400
From: BrettAndJill@OIA.net
Subject: Re: OR Origami Levels

This Message crosses over with the "How I started String"

The first decent book that I bought was Sakata's, an excellent beginner
book.  The next book I bought was Complete origmai by Lang.  Big
Difference between the two.  Also I checked out a copy of Origami
sculptures by Montroll.  My favorite model out of Origami Sculptures is
the Asparagus beetle.

Here's the segeway between the Start and origami levels.

When I go both the books I was an ORIvirgin. I knew nothing about
complexity, I just knew I really wanted to do it.  The Sakata book was
No challenge.  Even though I very rarely complete a model out of the
Lang book I always tried, Even the horribly complex models.  The
asparagus beetle was my nemecis, I've been folding for about 2 years and
I just completed it about a month or two ago and boy does it look
crappy.  But, I am very proud of it.  I think that just by looking at a
completed model most (even an ORIvirgin) will know whether or not they
have the skill or not to complete it.  Even if you can't complete it you
should give it a go.

My only pet peeve about complexity when I first started was WHAT SIZE
PAPER TO START WITH.  To all those who are diagramming give the
beginners a break by telling them what size sheet of paper is 1) easy to
start with 2) looks best and 3) which is a challenge.

Many thanks to Robert Lang in the intro to his new Insect book for the
hint about 10" paper.

Brett
BrettAndJill@OIA.Net





Date: Mon, 29 Jan 1996 14:02:21 -0400
From: Jennifer Andre <JAndre@cfipro.COM>
Subject: Paper!!!

     I'm sure a lot of you will give me a nice, healthy "DUHHHHHH!" over 
     this one.  (So send 'em to me privately, okay?)
     
     I've found a great place to get large (or small) quantities of paper 
     cut to any reasonable size at a fairly low cost:  a printing shop!  
     Near my home, there is a "Lazerquick".  They can cut paper that's not 
     too big (American standard 8=AB" X 11" doesn't scare them...) into any 
     size you want.  They'll do as few as one sheet, or as many as they can 
     order.  One particularly nice paper they get by special order is 
     called "Starlight."  It has charming little specks of color in the 
     paper.  It comes in 70# weight.  They gave me a free sheet to 
     experiment.  It folds rather nicely, and looks quite pleasing.  I'm 
     planning to use this paper for making some of Fuse's boxes.  I've 
     ordered some "Starlight" and a couple of other nice colors to be cut 
     into 6" X 6" squares.  Saves the trouble of going after a T-square, a 
     ruler, and a mathematician (;-P).  I get too impatient to get down to 
     the folding!
     
     My S.O. will be picking up my paper for me today.  (He's sick of 
     hearing me babble on about what lovely paper I'm getting...)  If 
     anyone's interested in learning the results of mixed-weight paper in a 
     Fuse box, please ask!
     
     - Jennifer (Portland, Oregon, USA)
     JAndre@cfipro.com
     
     Please support small businesses!!! Please buy your books from a local 
     or even family-run bookshop!  The big stores are tempting with their 
     "discount" prices (at first--those discounts stop), but they're so 
     impersonal!!!





Date: Mon, 29 Jan 1996 14:31:33 -0400
From: Sandra Hoffman <ghidra@magi.com>
Subject: Re: Intro/Moose pattern?/"circle" origami

My first post here so a brief introduction. I've been playing at paper
folding for about 5 years now. Paper folding and anything like it was in
the category of activities that I was repeatedly told as a child I would
be hopeless at and shouldn't even try. I used having my own children as
an excuse to try out many things I was discouraged from doing as a child
including paper-folding. I'm not as systematic about it as many here, and
don't memorize names of folds so maybe I can do a basic bird fold. I
don't know. I have fun working from my books, and don't worry too much
about it. I have one child who likes taking lessons and one who doesn't,
so much of my folding is done to amuse one child while waiting for the
other childs lesson to finish.

On Mon, 29 Jan 1996, Joseph Wu wrote:
>
> There are many moose designs. The most famous is John Montroll's in
> "North American Origami", but there is also Robert Lang's (actually, I
> don't think that it's been published yet), and others including Kunihiko
> Kasahara's.

I have a picture of Kasahara's reindeer in one of my books, Origami Made
Easy. Unfortunately, it does not give diagrams. I'd really like one to go
with the sleigh and santa I have from another book. The one year I made the
sleigh and santa as a table centre piece, I adapted a design, I think it
was for a cow, but it wasn't even close to as nice as the reindeer in the
Kasahara book.

Origami made easy also has a lovely peacock, I made one before christmas
out of a very small piece of foil paper, and I think next year I may make
up a whole bunch to decorate my tree. The tulips in Origami Made Easy are
also very satisfying to make. Done it bright colours and placed in a
folded paper pot, they are beautiful.

sph

ghidra@magi.com

"This will do," said the bunyip to himself.
"No one can see me here. I can be as handsome as I like."





Date: Mon, 29 Jan 1996 14:59:29 -0400
From: Sandra Hoffman <ghidra@magi.com>
Subject: Re: OR Origami Levels

On Mon, 29 Jan 1996 BrettAndJill@OIA.net wrote:
>
> My only pet peeve about complexity when I first started was WHAT SIZE
> PAPER TO START WITH.  To all those who are diagramming give the
> beginners a break by telling them what size sheet of paper is 1) easy to
> start with 2) looks best and 3) which is a challenge.

I'm pretty much a novice, but as a rule of thumb, if it's the first time
I've made a piece, and looking through the diagram there's lots of small
fiddly folds, I use my biggest sheets of paper, irregardless of whether
this will make a beutifully proportioned finished model. If I get through
it once, I can usually do it again with any size of paper. But it would
be nice to know what size paper the originator of the design considers
ideal. Generally, I find, though, that more space between creases and
folds in the finished product, the smaller the paper needs to be for the
finished product to look right.

I was trying to explain this to my daughter the other day. She wanted a
big sheet of paper for her barking dog (from Origami for Parties by
Kobayashi and Yamaguchi) because her brother's corythosaurus (from Fold
Your Own Dinosaurs by Campbell Morris) was made with a big sheet. The
barking dog looks awfull done with a large sheet, but the dinosaur took me
nearly 45 minutes to fold and I couldn't have gotten it at all with a
smaller sheet. There's a tiny rabbit ear fold that is misery to get.

Does anyone else handle difficult folds the way I do. I read through the
instructions, and look carefully at the diagram. If I still can't get it,
I look at the next step which usually shows what the finished fold should
look like. Then I kind of turn off my brain, and let my hands feel
out how the fold should go to produce the desired final appearance. It's
an almost magical or zenlike process.

By the way, looking through this book, I discovered that I can fold a
bird base, with no trouble if I have a diagram. I haven't got it
memorized because I don't fold often enough. The corythosaurus starts
with a bird base.

>
> Many thanks to Robert Lang in the intro to his new Insect book for the
> hint about 10" paper.

I'm going to have to get hold of one of the mail order sources for
origami books. Some of the things I'm hearing about here sound really
interesting, and good origami books are a hit and miss proposition around
here. Anybody know of a Canadian mail order source for origami books and
paper.

And I'm sorry for rambling on so incoherently. I've never had other
adults to talk paper folding with before.

sph

ghidra@magi.com

"This will do," said the bunyip to himself.
"No one can see me here. I can be as handsome as I like."





Date: Mon, 29 Jan 1996 15:11:32 -0400
From: ACPQUINN@myriad.middlebury.edu
Subject: Re: OR Origami Levels

I too have taught a few beginners some rather complex folds... This past month
I've been teaching some college students origami.  Only one has had previous
experience.  In the past two classes, I took a break from my more-or-less
simple/intermediate teaching (i did once teach them Rona's Spike Ball) and
taught them a Japanese beetle from Viva! Origami. When they all finished that
in an hour and a half, I decided to teach them one of Tom Hull's recursive
pieces that I learned at the convention last year.  At the next class, they
finished that one in an hour and a half.  The next class is tonight and I'll
be teaching them one of Fuse's spiral boxes.  I suppose it's different
teaching college students, but one of those students is actually the wife of
a professor, and at 50-something with no more experience than anyone else, she
still finished the recursive piece before some of the college students :)
        I think that I have proved that under some circumstances, getting in
over one's head is actually a good thing.  It proves that you CAN complete
models that you didn't think you could, and at least makes it look like you
know what you're doing when you show off your models for your non-folding
friends ;)
Alasdair
acpquinn@myriad.middlebury.edu





Date: Mon, 29 Jan 1996 15:51:58 -0400
From: Adalto Silva Correia Filho <adaltof@ufc.br>
Subject: helping beginner

        I was introduced to origami when i was 8, but I found the real
oportunity to learn all its wonders just two months ago.
        Well, I've already tried my first beginner-intermediate level
foldings and I guess I did pretty well. But I'm still not used to the
terms used (as sink folding). I'd love if someone could tell me about
some books where I can found the information " to go from my
poor-begining level to the great-intermediate one".
        I'd really appreciate if you could send me some site's addresses
where I can find these informations and diagrams of foldings. I'd prefer
to get these information through the Web, 'cause it's fast.

                                 Adalto S. C. Filho

P.S.: Sorry for my poor English. I'm still learning. :)





Date: Mon, 29 Jan 1996 16:21:33 -0400
From: chall@scsn.net (Carol Hall)
Subject: Re: OR Origami Levels

>
> I've never had other adults to talk paper folding with before.

I know the feeling!  I, for one, live in an area where there is very little
folding going on, and what is here is considered strictly "child's play."
Folks generally are amazed at what can be done, but offer to teach and they
think only of children.

Solitude is a lovely place to fold, but talking and learning can definitely
be hindered!

Carol Hall
chall@scsn.net
