




Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 15:43:59 -0400
From: Brett <BrettAndJill@OIA.Net>
Subject: Re: Dragon Models

At 11:54 AM 4/4/96 -0500, you wrote:
>
>I have several books on origami, but I have only found one oriental
>dragon model.  The rest are all european designs.  Would anyone out there
>know where I can find any?  Or if anyone can email me the designs, or
>knows web sites that have them, this would also be appreciated.
>
>Thanks, bunches,
>Scott Fuller
>FullerSM@ctrvax.vanderbilt.edu

In Montrolls new Book Mythological Creatures and Animals of the Chinese
Zodiac, there is a nice oriental dragon.  Nice book too.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 15:49:43 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Origami Puzzles?

> Has anyone ever thought of making one, ar has succesfully(sp?) completed
> an origami puzzle.

Do you mean jigsaw puzzle? Tony O'Hare has made a generic puzzle piece fold
- it's in his BO booklet...

There are lots of general puzzles, obviously - Bob Neale has many superb
ones.

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 16:54:41 -0400
From: plank@cs.utk.edu
Subject: Penultimate polyhedron directions

I've html-ized most of the directions for making basic polyhedrons with
Neale's ``penultimate'' module.  If you're interested, the link is at
the top of my origami web page
(http://www.cs.utk.edu/~plank/plank/origami/origami.html).

I haven't put the details on all the archimedean solids yet, but I'll
get to it.  If the momentum continues, I'll put on some of the more
complex ones too.

Enjoy,

Jim
---------------------------------------------------------------------------
Jim Plank
plank@cs.utk.edu
http://www.cs.utk.edu/~plank

Assistant Professor
Department of Computer Science
University of Tennessee
107 Ayres Hall
Knoxville, TN 37996





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 17:12:21 -0400
From: Cara Beth Stevenson <llcbs@utxdp.dp.utexas.edu>
Subject: sources in Italy (was: locomotives)

  Giunta's "Divertiti con l'Origami" (that spelling is probably
incorrect) has an excellent, although simple, locomotive model. The
book is in Italian, but it is very well diagrammed.

~~~~~~~~~~
I will be in Florence, Italy, in June.  If anyone knows of a good
source of origami books/supplies in or near Florence, would you
please let me know privately?

Thanks,
C.B. Stevenson, llcbs@utxdp.dp.utexas.edu





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 17:21:29 -0400
From: Caslegona@aol.com
Subject: Re: RE: What is a flasher - not Brill!

Jeremy Shafer, 1744 Virginia St., Berkely, CA 94703 - he is the originator of
the flasher





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 18:27:59 -0400
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Folding Chinese Hell money

    Hi Nigel and others,

    Yes, I've considered folding Chinese Hell money.  Since I only have one
    example, as far as I got was making xerox copies of it for practice.
    I've been researching religious uses of paper and thought it would be
    an interesting use.  I don't know if they're only available during the
    "Month of Hungry Ghosts" (I believe it's called), or if they can be
    purchased at other times, but my local Asian market doesn't seem to
    stock them.

    The example I have is smaller and more square than (US) paper currency,
    but they come in all colors and sizes.  The paper is thin. Some even
    have foreign Heads of State on them (like Stalin, Kennedy, and so on).
    People collect them there's such a variety.  I believe they're still
    used in Hong Kong and elsewhere.

    Along similar lines, many supermarkets sell notepads of oversized
    100-dollar bills.  I use these for doing dollar folds.  Although the
    paper isn't as flexible as kami (or real dollars), it works very well
    for testing a model.  Unfortunately, it has ruled lines on the obverse.
    They make great bow-ties and other single-sided models.  Someday I'd
    like to do a survey of colorful foreign currency and fold a really nice
    artsy model ... *someday* :-}

    Kristine
    ktomlinson@trinzic.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 18:35:23 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: O'Hare's jigsaw

> Kenneway also mentions that Anthony O'Hare has "succeeded in making
> origami jigsaw puzzle pieces which lock together." Now that sounds pretty
> interesting....Anyone know if this was ever diagrammed somewhere?

Yep, in his booklet - I'll write him a line & see if I can scan & relelase
them - I'm sure he'll not object. I spoke to him this last weekend - shame I
didn't think on....

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 19:01:55 -0400
From: Allen Parry <parry@eskimo.com>
Subject: Re: Lazy Boy Furniture ad, Genealogical software

On Mon, 1 Apr 1996 Maumoy@aol.com wrote:

> Has anyone else seen the tv ad with table, chairs, and lamp made of dollar
> bill folds?  Is there an origami connection to this?  The ad was shown in the
> Washington DC area on Thursday, March 21.
>

I have an answer for you. . . disappointingly, this was not origami but
the magic of stop motion photography.  I guess you can't believe
everything you see on the television.  How they did it is, they created
metal forms, then piece by piece covered each item by dollar bills, and
took a picture.

Oh well, fooled again. . . but the investigation was fun.

Allen Parry





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 19:10:31 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Tesselating fish

> What you could do is make several of Neale's Fish, Tesselate them

I've created a doubled 2*1 fish (ie. two fish joined at the base) that
tesselates nicely - as soon as I have scanned the diags in, I'll let you
know.....

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 19:48:13 -0400
From: Brett <BrettAndJill@OIA.Net>
Subject: Japanese Title

I Found this title On Illinet online: Yoi ko no tanoshii origami / Yamaguchi
Makoto.

Could somone translate ? and maybe give some content simple/Int/complex ?

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 20:32:55 -0400
From: dragon@freenet.edmonton.ab.ca
Subject: Lucky Day

Well today was my lucky day.  I was in a couple of local bookstores here in
Edmonton, Alberta Canada and much to my surprise and pleasure I found two
books that I was thinking or ordering from OUSA.  One was David Brills
Brilliant Origami and the second was Mythological Creatures and the
Chinese Zodiac in Origami.  In case there are other Edmontonians on the
line try Coles Books in Kingsway Garden Mall and Greenwoods Bookstore.
Brillant Origami was 30.95 Canadian and Mythological Creatures 14.95
I am glad this is a long weekend and can hardly wait to dive into these
two new gems.





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 20:41:29 -0400
From: dragon@freenet.edmonton.ab.ca
Subject: Re: Ships models

I believe in Creating Origami by Nolan he has rediagrammed Patricia
Crawfords 3 Masted ship.  This might be a good resource for you.

On Thu, 4 Apr 1996, Brett wrote:

> At 05:29 AM 4/4/96 -0500, you wrote:
> >
> >Hi everybody!
> >
> >I'm looking for interesting ship models.
> >Does anyone have/know where I can get these kind of models?
> >Alon Hazay
> >Israel
> >Email: hazay@ibm.net
> >
> >*** THE SKY IS THE LIMIT ***
>
> Patricia Crawford made a three masted ship, it's in one of the harder to
> find Harbin books.  I think the title is Origami: step by step.  Help me
> here anybody.
>
> Brett
> BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 23:12:48 -0400
From: unhinged@yrkpa.kias.com
Subject: Chinese Modulars- finally the story

I *finally* got around to uploading the story I wrote for the York
College writing contest- it's basically an account of my visit to the
prison to see the refugees.  I *promise* to post diagrams to the units I
mention; regrettably, though, I couldn't get the formula for the
papier-mache type stuff.

Here goes (excuse any melodrama):

                          "Prisoner of the Fold"

     When I mention the word "origami," in a mixed crowd, a few
people respond, recalling childhood images of abstract paper
birds, airplanes or "cootie catchers."  Most have not experienced
the true scope of the art form.  "Paperfolding" has been a part
my life for the last eleven years.  My elementary school days
were enlivened with two-fold ducks and hopping frogs.  Over time,
I gradually acquired new books and special papers, my ability
grew.  Rather than using scissors to make "legs" on animals, I
was able to create lifelike creatures by simply folding a single
square of paper.  Through bibliographies in books, I found others
who enjoyed this hobby.  By the time I graduated from high
school, I had joined the national Origami society (today called
Origami USA), and been to two three-day conventions in New York
city.  When I arrived at college, I discovered a mailing list on
the Internet for the art, and promptly joined.
     Through this interaction with folders from around the world,
I learned of a group of Chinese detainees who were being held in
the York County Prison, a short distance from my home.  The
mailing list is not typically a forum for addressing social
injustice.  The attraction to the plight of these accidental
immigrants was based on rumors that they had developed "a neat
new triangle module folded from paper."  Intrigued, I decided to
attempt to visit these "fellow artists."

     When I called the warden to arrange the affair, a strange
conversation ensued.  "Are you a lawyer?" he asked.
     "No sir," I responded.
     "Part of a religious organization?"
     "No sir," I replied again, "I'm a paperfolder."
     After a moment of silence, the warden agreed to allow the
visit, and transferred the call to the prison chaplain.  After
the initial exchange, I explained my "project."  When I had
finished, he laid the ground rules.
     "You do realize this is a maximum security prison," the
chaplain warned.
     "Sure," I replied offhand.
     "Don't carry any sharp objects, and don't wear blue; that
color is in season for inmates this year.  And don't wear a
necktie."
     I chuckled at this odd request.  "Why not?" I queried.
     "You could get strangled to death that way."
     I swallowed, audibly.
     "That reminds me," he continued, "you'll have to sign a
little waiver when you come to visit.  If you are captured during
a riot, we'll try and negotiate your release, but we won't
concede to every prisoner demand."
     As the chaplain finished his grim speech, visions of
peaceful, paper polyhedra vanished from my mind, to be replaced
with scenes from the movie "Attica."

     "Oh," said the chaplain offhandedly, "there's one more
thing.  You can't bring anything in with you; no paper.  And I
hope you speak Chinese."
     Three days later, I stood nervously in front of the Male
wing at the York County prison, wondering idly if I would survive
the ordeal, or if I should have told my mother about the "rules".
She had already questioned my sanity when I casually mentioned
that I was visiting the prison to fold paper; I didn't want to
upset her even more.  After checking in at the desk I was
escorted through a couple of rumbling sets of steel doors before
arriving in the office of Robert "Bob" Brenneman, Assistant
Chaplain of the York County Prison.
     As I entered the room, I glanced around, expecting to see a
few scraps of paper, abstract shapes made from substandard
materials.  Instead, I noticed multicolored, intricate vases and
handcrafted animals decorating the otherwise bland workspace.
Bob chuckled to himself as he gauged my reaction to the elaborate
artwork.  After staring in awe for a few long minutes, I managed
to find my voice, and inquired about the origin of this art form.
     "The translator called it "folded paper," he began, "and
that's how it began, at least."  Bob gestured to a somewhat
lopsided abstraction of a turkey hidden in a corner.  "Origi
nally, the Chinese just assembled "folded pieces" made from
scraps."   According to Bob, one of the detainees moved beyond
the original, "traditional fold" and began creating "pineapples"
folded together from scraps found around the cell.  He taught his
cellmate how to make them, and the "art" soon spread through the
"pod'" or containment area.  The pod consists of a few rows of
cells and a small common area with a TV set.  The refugees began
making these pineapples in a sort of assembly line, as "gifts"
for anyone who was helping them with their plight (attorneys and
visitors).  The Chinese "artists" were a group from variety of
backgrounds- engineers, shopkeepers, and teachers.
     The form evolved, and the Chinese began scavenging any
material at their disposal to create new works of art.  They
combined toilet paper with Elmer's glue in a swirled mash which
then could be "sculpted" into shape, over painstaking hours of
work.   They combined the earlier "triangle" paper modules used
in their pineapples with their sculpted pieces, detailing them
with magic marker.  The artists did not have pictures for these
first models; eagles, fish and lobsters.  They worked entirely
from imagination.  "For a while they were coming up with new
animals that didn't exist," accorded Brenneman.  The eagles
gradually evolved from early simple representations to realistic,
detailed finished work.  The skilled men would etch lines to make
"feathers" with the tools at hand- the ends of plastic spoons.
The spoons were then used to smooth out the bodies until they
were perfect surfaces.  The Chinese devised a method for creating
lifelike eyes which shone with life.  "We're not sure how they
did it," the Chaplain says, "we think they might have used some
sort of soap."
     Their ingenuity at creating implements for their work was
remarkable, though not always compatible with the prison
regulations.  "We walked in one day to the cells and found a
couple of the men calmly slicing pieces of cardboard with what
appeared to be knives," Bob recalled, "The tools were created
from metal elements in their boots.  They didn't even realize
they had done anything wrong; they needed to cut, so they made a
tool for the job"
     After the lesson in the history of this "new" art form,     Bob
and I walked to the Chinese cell pod.  As we passed the first set
of cells, Bob shouted, and a door to one of the pods opened.  An
energetic youth, Jian Le Shi, sprang forth and became my "tour
guide."  Bob explained who I was and Jian Li cheerfully pumped my
hand with vigorous aplomb.  We moved onto another pod to visit
the creators of some of these masterpieces.  The heavy automatic
door opened, and Jian bounded into the pod, pointing and shouting
in rapid Chinese at a crowd watching a television.  Several of
them immediately arose from their perches atop makeshift tables
and rushed upstairs to the upper cell block.  Jian hopped up the
stairs and shouted until Bob and I followed.
     I entered the first cell, and spied a slumbering form in one
of the bunks.  A single eyeball peered out from beneath the
covers, and the sleeping man awoke immediately.  After a brief
exchange with Jian, he withdrew a mystical dragon from beneath
his bed.  His creation, a meticulously carved design, sported
detailed scales, burning eyes, and gnashing teeth (made of
styrofoam from a cup) in a mouth complete with a "pearl".  The
creature's animated form shone with a life that stood in sharp
contrast to the bleak cell.

     I recalled trips to art museums as a child where admonishing
security personnel carefully guarded sculptures, insuring that
the pieces are not touched or handled in any way.  Not here.
Unlike the museums of the big city, this artist was happy to
share his work, and immediately handed me the dragon to appraise.
After staring appreciatively at this ingenious work, I turned to
my right and spied an eagle with a 3-foot wingspan.  The wings
were composed of hundreds of triangle modules made from magazine
covers, carefully color-sequenced and meticulously assembled.
Three of the Chinese moved around the piece and scooted it across
the floor towards me so fast I nearly fell over it.  At that
moment, I wished that I knew enough Chinese to express my
appreciation, but at the same time had a feeling that mere words,
no matter what the language, could never convey my feelings.  I
hope my dazzled expression was sufficient.
     In the next cell, I nearly fell over a 4-foot long model of
a ship, created entirely from the toilet paper "mash," paste,
glue and soap. "It's like the one they came over on," explained
the Chaplain's Assistant, "for their Golden Venture."  The
Chinese perked up upon hearing the Bob's last two words, and
began shouting them excitedly among themselves.  One of the more
animated fellows tugged at my sleeve and gestured to the boat,
speaking in his rapid native tongue.  The Chaplain explained that
they were talking about the trip.  "They were on the boat for
almost a month," he said, "and received only a handful of rice to
eat, every other day."

     We eventually left the room and proceeded to the final cell.
There, the "chief artist," Xiang Gui, stood proudly before his
modest "workshop."  Ten styrofoam cups sat on the floor, filled
with a multicolored assortment of handmade mash, his sculpting
material.  Half-finished pieces sat in various stages on a table
next to the bed.  A winged golden lion perched on the sill
guarding the window.  I glanced over at the table and noticed a
picture from a Franklin Mint advertisement, showing a family of
white owls roosting on a tree.  Noticing this, Xiang sifted
through some items on his desk, finally withdrawing his latest
work- an exact replica of the sculpture in the photo.
     Four intricate white owls gazed despondently from their
perches, a family alone on an island tree of handmade paste and
magic marker.  One of the group spoke up.  "Owl," he managed,
"like us," he gestured to the group, "We fly.. America., go back
for Mamma and baby.  Bring family to USA."  I looked around at
the faces of the assembled detainees and noted the first break in
their animated, cheerful countenances since I had arrived two
hours earlier.  One spoke up "We America. No go back China"
"America," they chanted in unison.
     Finally, as we left, I paused one last time before the
cells.  Two men emerged from the artists area, each bearing a
perched eagle, each finely crafted over many hours.  "You should
be honored," said Bob, "Those are easily worth a couple of
hundred dollars."  I didn't know how to thank them properly.  "We
teach you how to make," one of the men offered.  As I departed
their prison, I reflected upon how eagerly I would have accepted
the offer.  Regrettably, though, these fine people would more
than likely be gone within 2 months, given up on a futile legal
struggle.
     As I departed the prison, I reflected upon their situation,
and my own perceptions.  Before I met these fascinating people,
"immigrant" was a dirty word, the embodiment of a foul scourge
which threatened to seep into the country, robbing America of
jobs and taxpayer dollars.  During my brief visit, I discovered
that the pieces of Chinese artwork were fetching hundreds of
dollars in the marketplace, where they were sold by third parties
apply for citizenship," I asked Bob, "they can obviously make a
living and contribute to the country."
     "Their situation is largely political," he replied soberly,
"They claim that they are political refugees, and they aren't
'officially' recognized by our government as being persecuted by
China."
     I pondered this grim fact of life.  In China, there are no
"official" beatings, no "official" forced abortions.  I suppose
there is also no "official" art form of "folded paper."  If these
people are returned to their miserable existence, there never
will be.  The hope and optimism that drives their artwork will
die with the broken spirits of the artists.





Return-path: <origami-l@nstn.ca>
Date: Thu, 4 Apr 1996 23:53:41 -0400
From: Jonathan Poh <jonath@pl.jaring.my>
Subject: Chinese Refugee Modulars

>You're talking about the modules we've been discussing
>here on the list under the heading of Chinese Refugee Art.

Hmm.. why Chinese Refugee? Did they do it because they had a lot of free
time as refugees? :)

>Your post confirms this I believe. Could you get one of these
>kits, and let us all know how these modules are made? Are they
glued together in making the models? Etc etc. You'd be doing
an immense public service  :-)

I'll get one and perhaps scan the instructions (just 1 sheet of paper). The
modules are rather simple to make and have quite a good locking mechanism.
The paper used is rectangular (2:1, I think). I don't think glue is used as
the locked modules form a chain that can still be shaped. I'll keep you all
up to date on this.. If you're interested in the diagrams, give me a holler
via private email.

 \   Jonathan Poh
(//) Email: jonath@pl.jaring.my
  \  Home Page: http://www.lookup.com/Homepages/67661/home.html





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 01:07:02 -0400
From: sychen@ENH.NIST.GOV (S.Y. Chen)
Subject: Re: Japanese Title

>I Found this title On Illinet online: Yoi ko no tanoshii origami / Yamaguchi
>Makoto.
>

My translation would be "Yoi ko's fun origami". "Yoi ko" looks like a
female name to me. Any comments from native Japanese speakers?

Shi-Yew Chen (a.k.a. SY)
E-Mail: chens@iia.org or sychen@enh.nist.gov
Origami Page - http://www.iia.org/~chens/pprfld.htm





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 01:39:50 -0400
From: sychen@ENH.NIST.GOV (S.Y. Chen)
Subject: Re: Eastern Dragon

I posted this once. This is an updated one:

Eastern Dragon Models:

* by Jun Maekawa, in VIVA! Origami
* by Akira Yoshizawa, in Sousaku Origami (or some of his other books)
* Dragon by John Montroll in his new book, Mythological Creatures and the
Chinese Zodiac in Origami
* Dragon by Mike Weinstein - you might need to keep bugging him for
diagramming it
* Scaled Dragon by Joseph Wu - This one could be more realistic? (or pain)
* Eastern Dragon by Joseph Wu - Both of his models' photos can be found in
his page
* Chinese dragon folded using a similar technique as in SENBAZURU (1000
paper cranes) - My first bought paper folding book - no diagram :-<
* to be added ... (my own design in the future?!?!)

Shi-Yew Chen (a.k.a. SY)
E-Mail: chens@iia.org or sychen@enh.nist.gov
Origami Page - http://www.iia.org/~chens/pprfld.htm





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 02:46:19 -0400
From: Vincent OSELE <osele@worldnet.fr>
Subject: Re: Error Condition Re: Citation

"The matrix is folding itself around me like a japanes fold"
"La matrice se replie autour de moi comme un pliage japonais"

This sentence is from a book of William Gibson (creator of cyberpunk):
'Grave sur chrome'. I don't have the translation for title :-(

I remember also that a policeman fold a small crane in the film "Blade Runner".

Do you know other origami citations ?

 _______                                                     _____
|       | Osele Vincent                   Membre du MFPP    /|    |
|       | osele@worldnet.fr                                /_|    |
|       |                                                 |       |
|_______| -----------------> ORIGAMI -------------------> |_______|





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 02:50:59 -0400
From: Vincent OSELE <osele@worldnet.fr>
Subject: V'Ann Cornelius address?

Hello,

V'Ann Cornelius if you read this, can you send me your address?
I have 'vann@tredgar' but doesn't ok :-(

or

Can someone can send me his address?

Thanks
 _______                                                     _____
|       | Osele Vincent                   Membre du MFPP    /|    |
|       | osele@worldnet.fr                                /_|    |
|       |                                                 |       |
|_______| -----------------> ORIGAMI -------------------> |_______|





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 04:44:59 -0400
From: Darren Osadchuk <osadchuk@UVic.CA>
Subject: Re: Error Condition Re: Citation

>"The matrix is folding itself around me like a japanes fold"
>"La matrice se replie autour de moi comme un pliage japonais"
>
>This sentence is from a book of William Gibson (creator of cyberpunk):
>'Grave sur chrome'. I don't have the translation for title :-(
>
>I remember also that a policeman fold a small crane in the film "Blade Runner".
>
>Do you know other origami citations ?

<delurk>

In the film _Hardboiled_ (directed by John Woo, starring Chow Yun-Fat and
Tony Leung, the character Alan (played by Tony Leung) plays a cop who's gone
undercover as a gang member.  He folds a crane for every person he's had to
kill, and has them hanging in his boat.  He also "sends" a crane to the cop
he teams up with (CYF's character) as a signal at one point.  The cranes
also figure in the very last scene of the film, which I won't share since it
might give too much away.  Highly recommended film, though.

The other one I know is in the first issue of the _Sandman Mystery Theatre_
published by Vertigo (a DC imprint).  The main character, Wesley Dodds, fold
a number of different animals and leaves them all over the place.  It's been
a while since I've read, so I can't supply too many details, although I do
remember that they seemed fairly complex, but then, I'm new at all this.

<relurk>

____________________________________________________________________________
osadchuk@uvic.ca                            http://www.xtc.net/~osadchuk/

I do not remember what my father said; all I remember is the excitement with
which this new information entered my life.  Gangsters wore hats, and drove
big cars.  Gangsters had tommy guns, which they kept in violent cases.





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 04:48:34 -0400
From: Oded Streigold <benjic@netvision.net.il>
Subject: Re: Error Condition Re: Citation

 Here's a nice citation:

 In Terry Pratchett's new book, Interesting Times, there is an evil war-lord
 called Lord Hong who was good at everything, including origami. At one
 scene, he interrogated one of his guards who failed in some mission.
 While he was speaking to the guard he was folding some model. At the end
 of the interrogation -> "He folded the last crease and opened his hands,
 putting the little paper decoration on the lacquered
 table beside him.
 Herb and the guard stared at it.
 'Guard...take him away,' said Lord Hong.
 It was a marvellously constructed paper figure of a man.
 But there didn't seem to have been enough paper
 for a head. "

 Bye!
 Oded  =8->





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 10:26:25 -0400
From: Maumoy@aol.com
Subject: Origami Ships

Momotani has a book on Origami Ships, published in 1994, ISBN 4-416-39417-9,
1200 Yen.  According to the introduction, half of the book is traditional
models from the 1978 edition  of Origami Vehicles.  These models were
subsequently excluded from the 1986 edition of Origami Vehicles.





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 10:51:17 -0400
From: Brett <BrettAndJill@OIA.Net>
Subject: Re: Japanese Title

>My translation would be "Yoi ko's fun origami". "Yoi ko" looks like a
>female name to me. Any comments from native Japanese speakers?

Thanks Sy.

Also to anyone who wants to know the Telnet address to Illinet is
128.174.53.54, if you live in Illinois and you library is a part of this
system, you can request a book that you find on Illinet through
inter-library loan.

It's a good way of finding harder to find books.  Also for people out of the
Illinois area, it is a great resource for origami titles in general, and the
system is easy to use, Unlike LOC (library of congress).

There are several titles there in Korean, Japanese, and Chinese.

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.CA>
Date: Fri, 05 Apr 1996 11:04:24 -0400
From: chall@scsn.NET (Carol Hall)
Subject: Re: locomotive model

A few years ago at the OUSA (FOCA) convention, there was a wonderful model
taught of a train folded from a map.  It had several cars plus an engine, as
I recall.  I couldn't get into the class and was dismayed to learn that the
model had not been diagrammed.

Can anyone update this information?  I would love to hear that diagrams are
now available somewhere...

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 11:12:19 -0400
From: Rjlang@aol.com
Subject: Re: computer programs, transfinites and proofs

   > Maybe someone has already
   > proved you can fold anything? (Given an infinitely large and thin
   > sheet of paper...

RL>   Maybe not ANYTHING, but since you asked, I will be presenting a
constructive
RL>   proof (i.e., an algorithm for doing so) that you can fold a shape with
any
RL>   number and configuration of points at the 12th ACM Symposium on
Computational
RL>   Geometry in Philadelphia next month, if anyone's interested.

JM> ...How can this be?  To construct the vertices of a regular 11-gon
JM> requires an angle "quinquesector".

In the above discussion, "construct anything" doesn't mean geometric
construction (e.g., compass-and-straightedge); it means you can
mathematically specify where all of the creases go to give you the desired
base. In general, folding a base with an arbitrary configuration of points
requires the solution of many (sometimes hundreds of) algebraic inequalities.
Thus, although the solutions can be mathematically specified, most cannot be
found exactly by folding alone. (Although, of course, one can approximate any
reference point to arbitrary accuracy.)

Robert





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 12:44:32 -0400
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: computer programs, transfinites and proofs

RL:<< you can
mathematically specify where all of the creases go to give you the desired
base.>>

Meaning, I presume, that the crease map can be drawn by computer, if
you've got the horsepower to solve the equations? Where does the size/
shape of the paper come into it; i.e. does that have to be specified in
advance, or is square paper assumed?

[Sorry, we're starting to worm the entire paper out of you in advance
of publication. Curiosity getting the better of patience... :-]

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 13:09:55 -0400
From: reeds@openix.com (Reeds Family)
Subject: unhinged's story on the Chinese refugees and their wonderful creations

Thank you for posting this! You should do your hardest to get this story
published in a magazine with
national circulation, with phtographs (and JOnathan Poh's diagrams of the
module, if possible)
It's a lovely piece of writing--and the point deserves wide circulation.

The bit about creations made from toilet paper-mache/soap reminded me of
something
my daughter did at the age of 2-3 years old. She was toddling around our bedroom
while we were dozing in the morning and then showed us a glob of Kleenex
mushed togethter with hndcream she'd been playing with. "What's that?"
"It's a gagole." "What?" "Gagole."
We finally figured out that she'd been trying to make a gargoyle--we'd been
to an exhibit of
building ornamentation a couple days earlier and she'd been particularly
interested in the gargoyles.
The urge to make something out whatever is handy still persists (she's not
the daughter
of a paperfolder for nothing)--she's now 16--but nothing as beautiful and
ingenious as what these prisoners are creating under such rotten
conditions.





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 13:19:48 -0400
From: "Kimball O. Pomeroy, Ph.D." <koper@getnet.com>
Subject: Re: Chinese Modulars- finally the story

Thank you for the wonderfull story. B y chance were you allowed to
photograph any  of the art?





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 13:45:41 -0400
From: unhinged@yrkpa.kias.com
Subject: Re: Chinese Modulars- finally the story

I haven't been able to yet, but I plan on photographing the two models
they gave me, and I will be visiting the wife of one of their attorneys
whose house is full of the models.  I *hope* within the next 2 weeks to
have the pictures up on my page, and to have "hardcopy" available for
those who prefer to look at actual photos and not scanned images.

On Fri, 5 Apr 1996, Kimball O. Pomeroy, Ph.D. wrote:

> Thank you for the wonderfull story. B y chance were you allowed to
> photograph any  of the art?





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 16:21:00 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Re: Ships models

> I'm looking for interesting ship models.

Theres a ship by Ted Darwin (head on for a change) in a book I published
some years ago called "One dozen folds" - I believe OUSA have a few in
stock? If not, I can mail you one at a modest price....

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 16:25:03 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: locomotive models in the "new style"

> I've also seen a Japanese book with an american railroad locomotive on
> the cover. Title may have been 'Origami Transportation in the New Style',
> new style meaning lots of pleating. Sorry, I didn't buy it, so I can't
> provide more information.

Yep, although the "new style" is in fact Elias-style box-pleating! Momotani
has made a series of trains (& boats & planes!) in his "origami vehicles"
book.

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 16:54:26 -0400
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: BOS supplies

> Is the dearth of BOS booklets due to shortage of funds or volunteers

The latter, I'm afraid. We have overworked the supplies secretaries for some
years & cannot find anyone prepared/skilled to take it on. We are
considering several options, including passing the lot  on to an external
agency.

> If it is a funds shortage, I'd like to suggest that consideration be given
> to using the Internet to help raise funds.

I've pushed this for over a year, but until we have the infrastructure to
cope with demand, it's a non-starter. Mister Wu's page has a plug for the
COET book, which we over-produced & need to ship before we can pump new
money in (you should see our warehouse!)

> that a publish-on-demand solution be considered.

The problem is balancing the print run cost with demand - less than 500 is
not cost efficient & we don't sell enough(!)

Believe me, we are aware of the problem & putting our finest minds on the
job(!) If I could demonstrate via the COET book that it's a good idea, the
whole supplies list can be on the web in days....

cheers,

Nick Robinson

nick@homelink.demon.co.uk
http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 17:05:49 -0400
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Re: 3-D Geometric Origami Modular Polyhedra Book

I had the pleasure of meeting Bennett Arnstein as the last meeting of the
West Coast Origami Guild.  This really is a wonderful book and the designs
are well done.  --  and yes I do have this book in my list.  Details are
available on the website.
Thanks -
Bren
--------------

At 01:25 PM 4/3/96 -0400, you wrote:
>I have just gotten this book by Rona Gurkewitz and Bennett Arnstein,
>Dover, ISBN 0-486-28863-3, $6.95 in USA, and it is great.
>
>It is mainly original designs by the authors.  The directions
>appear clear and it seems to provide pointers so you can understand
>what is required to construct the models.
>
>
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
Fascinating Folds
Rediscover the ancient craft of Origami, Japanese paper-folding, with
our extensive line of Origami papers and books.
http://www.fascinating-folds.com/paper





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 17:26:06 -0400
From: Brett <BrettAndJill@OIA.Net>
Subject: KAMI

Hmmm,

I've folded almost everything out of Montroll's mythological creatures.  I
LOVE this book.  All the model have a certain rythym when you fold them,
very nice.

Anyway, whilst folding these model I have been using 6" regular kami.  I
don't know if it is me or the paper, but I have noticed that the more
brightly colored papers out of the package seem to have more of a finish on
them than the Pastel colors, consequently it is a little easier to fold the
ones with more of a finish (brights).  <- Has anyone else noticed this ?
When I say "finish" I mean a little waxier (sp?) feel and maybe even a
little thicker.  I don't think its the specific package either, because it
seems that each time I start a really complex model with a pastel color;

1) it either rips outright.
2) I fold it too much to figure out a difficult fold, and then it rips.
3) I get half way through and then I rip it up because it look absolutely
terrible.

Well maybe number 3 is not the papers fault ;)

Brett
BrettAndJill@OIA.Net





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 17:41:43 -0400
From: Doug Philips <dwp+@transarc.com>
Subject: Re: BOS supplies

Nick Robinson wrote:
[Re: raising funds on the Internet. -dwp]
+I've pushed this for over a year, but until we have the infrastructure to
+cope with demand, it's a non-starter. Mister Wu's page has a plug for the
+COET book, which we over-produced & need to ship before we can pump new
+money in (you should see our warehouse!)

I am sorry to hear that you have over-produced.  That is unfortunate.

What I was suggesting, though, was not just sellling the booklets themselves
on the web, but generating "charitable contributions" via the web.  Cash,
time, expertise, etc...

+Believe me, we are aware of the problem & putting our finest minds on the
+job(!) If I could demonstrate via the COET book that it's a good idea, the
+whole supplies list can be on the web in days....

Nick - I hope that you can get a lot of COET sales, but I fear two things:
    a) Having only one item isn't going to generate a lot of interest.
    b) COET proceedings are likely to be the least interest generating
       books.  Most of what "the net" origami community has been wanting
       (this is my personal opinion based on what I see going by) is the BOS
       booklets with folding diagrams in them.  COET just has a different
       and possibly smaller audience.

+The problem is balancing the print run cost with demand - less than 500 is
+not cost efficient & we don't sell enough(!)

I am not sure, but I think I confused you on this point.  I am _not_ talking
about having an "real publishing house" do the printing, because you are
right about the costs.  I am talking about real do it yourself "desktop"
Book-On-Demand stuff.  If you get three orders this for booklet #29 week (or
whatever your cycle is, week, two-week, month, day, etc.), then that is what
_you_ print and send out.  Besides a nice printer you need a booklet stapler
(at least that is how most of my BOS booklets are bound) and "whomp. whomp."
you're ready to package and ship!

[Further discussion should probably happen via email.]

-Doug





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 17:58:59 -0400
From: Alex Bateman <agb@mrc-lmb.cam.ac.uk>
Subject: New diagrams

Hello there,
            I have put diagrams for three models I created on my page.

http://alf2.mrc-lmb.cam.ac.uk:1500/origami.html

I hope to diagram some of my more complex models over the coming few
weeks. Let me know what you think.

Bye for now
Alex

--
- Alex Bateman
- MRC Laboratory of Molecular Biology
- agb@mrc-lmb.cam.ac.uk
- Phone: (01223) 402479
- http://alf2.mrc-lmb.cam.ac.uk:1500/origami.html





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 18:06:26 -0400
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: Re:  Remaindered and out of print origami books (was: Re: locomotive
         model)

I have heard that some books are published to be "remaindered" (is that a word?

Anyway, some publishers print a book, put a $40 price tag on it and then "mark
it down" and sell it for $20 (while printing it for 3 or 4, no doubt... ) It is
something like a movie going straight to video tape without a theatrical
release...

Dee





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 18:06:07 -0400
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: Re: Burning Origami.

I would have thought the Treasury Department would be in charge of money rather
than the Secret Service...





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 18:29:11 -0400
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: origami references

I read a lot of science fiction/fantasy (more fantesty if the truth were known)
and Anne McCaffrey (one of my favorites) has a series of books that begins with
"The Rowan," followed by "Damia," "Damia's Children," and "Lyon's Pride." The
character Afra Lyon folds origami. In fact, he sounds like a regular Robert
Lang type since one of his inventions is a bull - complete with male genitalia.
No diagrams though ;-)

Dee





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 18:54:45 -0400
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: Re: KAMI

Hi,

>>>>> "b" == Brett  <BrettAndJill@OIA.Net> writes:

    b> Anyway, whilst folding these model I have been using 6" regular kami.  I
    b> don't know if it is me or the paper, but I have noticed that the more
    b> brightly colored papers out of the package seem to have more of a finish
     on
    b> them than the Pastel colors, consequently it is a little easier to fold
     the
    b> ones with more of a finish (brights).  <- Has anyone else noticed this ?
    b> When I say "finish" I mean a little waxier (sp?) feel and maybe even a
    b> little thicker.  I don't think its the specific package either, because
     it
    b> seems that each time I start a really complex model with a pastel color;

    b> 1) it either rips outright.
    b> 2) I fold it too much to figure out a difficult fold, and then it rips.
    b> 3) I get half way through and then I rip it up because it look absolutely
    b> terrible.

    b> Well maybe number 3 is not the papers fault ;)

I use kami from Kotobuki (the supplier for OrigamiUSA), and I've found
that the pastel colors are generally *more* flexible and durable than
the "shinier" ones.  For example, I've had Lang's Praying Mantis turn to
mush on me when using brown Kotobuki kami, but when I use the "dusty"
pastel green (not the lime green, which is shinier), it turns out just
fine.

Nowadays, I always try hard models first with light pink, yellow, light
blue, or lavender.  My Lang insects collection looks mighty colorful,
let me tell ya...  :^)

YMMV, of course.

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 20:15:37 -0400
From: NYC Blue Eyes <NYCBLUEEYES@delphi.com>
Subject: unhinged's story on the Chinese refugees and their wonderful creations

   I've seen several posts praising the post about these
creations but not the original story. Delphi often loses
messages so that probably happened here.
   Would someone please be so kind as to send me a copy? I
would really appreciate it since this subject is very
important to me.
   Thankyou VERY much.





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 20:47:25 -0400
From: Jennifer Andre <JAndre@cfipro.com>
Subject: Re[2]: Burning Origami.

     Surprisingly enough, if you're counterfeiting money in the US, it's
     the Secrect Service people who will find you and deal with you
     accordingly.  There used to be some re-enactment show on TV on Friday
     evenings that supposedly unveiled some of the Secret Service's more
     adventurous cases that had been "declassified."  The only one I ever
     saw happened to be about catching up with some counterfeiters!  It was
     kinda cool, in a "Rescue 911" or "Real Stories of the Highway Patrol"
     kind of way.  (I have to go home now, so if you don't understand me
     and feel it's worth your time to find out what my distinctly American
     television references are about, please e-mail me privately, and I'll
     answer asap on Monday or Tuesday.)

     JAndre@cfipro.com

______________________________ Reply Separator _________________________________
Subject: Re: Burning Origami.
Author:  origami-l@nstn.ca at Internet
Date:    4/5/96 2:08 PM

I would have thought the Treasury Department would be in charge of money rather
than the Secret Service...





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 21:23:44 -0400
From: Allen Parry <parry@eskimo.com>
Subject: Re: Burning Origami.

On Fri, 5 Apr 1996, BOB T. LYNCH wrote:

> I would have thought the Treasury Department would be in charge of money
     rather
> than the Secret Service...
>
I'd did too.  I first called the Treasury Department.  They told me to
call the Secret Service.

Allen





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 22:25:34 -0400
From: CThackeray@aol.com
Subject: Re: origami references

One of my favorite Sci-Fi books is "Paper Grail". Anyone else read it?





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 22:47:29 -0400
From: Namir Gharaibeh <U50879@UICVM.CC.UIC.EDU>
Subject: Nolan's_dragonfly

Hi!
   Has anyone folded J.C. Nolan's Dragonfly? (or wolf spider?)
The reason I'm grouping them together is that they all
 use a specific step I can't seem to get past. It's the
 step right after the base is completed where you thin the top
cone out.  If anyone would be so kind to possibly send me a
completed one with this successful step?
    Also, does folding all the other models with this base
make the dragonfly easier?  They all seem the same difficulty level.
Those who have Creating Origami probably know what I'm talking about.
                      Thanks tons in advance...

+-----------------------------------------------------------------------+
| Me and the world, see, we got  :            Namir Gharaibeh           |
|     this understanding.        :     a.k.a.  U50879@uicvm.uic.edu     |
|                                :   University of Illinois at Chicago  |





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 23:12:24 -0400
From: James_Sakoda@Brown.edu (James Minoru Sakoda)
Subject: Re: Japanese Title

>>I Found this title On Illinet online: Yoi ko no tanoshii origami / Yamaguchi
>>Makoto.
>>
>
>My translation would be "Yoi ko's fun origami". "Yoi ko" looks like a
>female name to me. Any comments from native Japanese speakers?
>
>
>Shi-Yew Chen (a.k.a. SY)
>E-Mail: chens@iia.org or sychen@enh.nist.gov
>Origami Page - http://www.iia.org/~chens/pprfld.htm
Yoi means good and ko stands for child or children.  The title probably
means fun origami for good children.  Probably quite elementary.  James M.
Sakoda





Return-path: <origami-l@nstn.ca>
Date: Fri, 5 Apr 1996 23:16:14 -0400
From: Allen Parry <parry@eskimo.com>
Subject: Origami Money on the Internet (Print your Own)

On Thu, 4 Apr 1996, Philip Craig Chapman-Bell wrote:

>         Perhaps some enterprising soul (or OrigamiUSA) should take to the
> minting of money meant to be folded.  Perhaps from the recycled money paper
> Crane puts out.  A Thousand Crane Bill has a ring to it, albeit a slightly
> materialistic one.
>         Yours, <>Philip<>
>

Perfect timing and proper prompting!!!  In the spirit of promoting dollar
bill origami . . . .

I just finished an illustration (detailed tracing) of a dollar bill for
the purpose of diagramming my original dollar bill folds.  I just finished
it this week.

This is my first attemp at a web page but if you look at:

               http://www.eskimo.com/~parry/

you'll find two zip files.  One for the HP Laser printer and another for a
Cannon Bubble Jet.  Inside the zip file are two files that print four
true-to-scale origami dollar bills that can be printed on a sheet of
paper.  The first file has the front of the dollar and second the back.
I have found that 70# paper has the same feel and thickness as money.

E-mail me if anyone needs help with this.

It's my desire that this will encourage people to trade their dollar bill
folds without losing the green stuff.

Allen Parry      parry@eskimo.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 6 Apr 1996 03:00:07 -0400
From: "Ashley G. Perrien" <perr2232@kutztown.edu>
Subject: I'm on a role!!!

Forgive me in advance for this post. It's just that I'm on a role right
noww and am really excited. In the past 1 week I have managed to make 2
different versions of a butterfly (Origami Zoo and Origami From
angelfish to zen), a stag beetle, scorpion, pill bug and a cicada! All
those are from Origami Insects. Oddly enough, all the models (except
one of the butterflies) are Lang models. For some reason, things that
seemed physically impossible before are "falling" into place as best as a
Lang model can "fall" into place.

Again, sorry for the rather pointless post, I'm just thrilled with myself
and had to share it. Thank you Mr. Lang, for many (MANY) hours of enjoyment!

AshleyP





Return-path: <origami-l@nstn.ca>
Date: Sat, 6 Apr 1996 09:33:59 -0400
From: reeds@openix.com (Reeds Family)
Subject: Re: BOS supplies and query to lit ref to origami (arthur Ransome)

As an editor at a smallish university press, I can really sympathize with
BOS's problems doing shortrun projects. Here are some suggestions :

1. Make it easy for non UK folks to send in orders in other currencies.
Post equivalent prices in the currencies of the countries where the most
overseas orders come from. The biggest obstacle for me to ordering the COET
book this minute is knowing that, to get a check in pounds, I'll have to
spend 2 hours at the bank and get charged at least an extra $5 for currency
conversion .( The Arthur Ransome Society has figured out a way for American
members to send checks in US $--I don't know the details, but as soon as we
heard they could do it, we indulged ourselves and joined.) If I could mail
you my credit card order in US $, that would be ideal.

2. Use the Internet to build up a pre-publication subscriber lists for new
projects. BOS publishes a prospectus to its members and on this list and
the various origami websites and asks for people to pay in advance as
subscribers. Offer a discount (or free postage) for orders of 5 or more
copies--encourage people to donate copies to their local libraries and
schools. As soon as there are enough to subscribers to cover the costs of
the bare minimum printrun, you make your best guess--this is of course the
rub-- about the total number to print.

3. Work out reciprocity arrangements with Origami USA and other groups  so
that members of one group can order at members rate with the others.

4. On any order form, add lines to encourage people to join BOS and to send
a donation to a publication endowment to help fund future projects.
Karen
Karen Reeds
Science/Medicine Editor
Rutgers University Press
Bldg 4161, Livingston Campus
PO Box 5062
New Brunswick NJ 08903-5062
908--445-7762x602
Fax 908--445-7039
reeds@openix.com (for origami)

PS SPeaking of Arthur Ransome--can anyone tell me how to make the paper box
referred to in a lovely passage on on p. 203 of MISSEE LEE:
        Peggy folded the paper and cut it square with her scoutknife. The
she folded in
        the corners so that it became a smaller square. The she folded
again. It turned
        into a hat, a double-ended boat, a salt cellar.
        "Bother," said Peggy. "I've forgotten how."
        "No, you haven't," said Nancy. "Go on. You fold and fold and then
unfold and cut bits out."
        "It's not a very good one," said Peggy a few minutes later.

 >> Is the dearth of BOS booklets due to shortage of funds or volunteers
>
>The latter, I'm afraid. We have overworked the supplies secretaries for some
>years & cannot find anyone prepared/skilled to take it on. We are
>considering several options, including passing the lot  on to an external
>agency.
>
>> If it is a funds shortage, I'd like to suggest that consideration be given
>> to using the Internet to help raise funds.
>
>I've pushed this for over a year, but until we have the infrastructure to
>cope with demand, it's a non-starter. Mister Wu's page has a plug for the
>COET book, which we over-produced & need to ship before we can pump new
>money in (you should see our warehouse!)
>
>> that a publish-on-demand solution be considered.
>
>The problem is balancing the print run cost with demand - less than 500 is
>not cost efficient & we don't sell enough(!)
>
>Believe me, we are aware of the problem & putting our finest minds on the
>job(!) If I could demonstrate via the COET book that it's a good idea, the
>whole supplies list can be on the web in days....
>
>cheers,
>
>Nick Robinson
>
>nick@homelink.demon.co.uk
>http://alf2.mrc-lmb.cam.ac.uk:1500/nickdata.html





Return-path: <origami-l@nstn.ca>
Date: Sat, 6 Apr 1996 09:52:16 -0400
From: reeds@openix.com (Reeds Family)
Subject: origamizing bundles of paper recycling-ideas?

New Jersey and our town have stiff recycling requirements. We have to
bundle--separately--newsprint, white "office ledger paper/computer paper,"
other paper into piles and tied with string.  I'm delighted to recycle
paper-- We probably generate 3-4 cubic feet of paper for recylcing each
week.--there's no way I could fold all that and no place to put it if I
did. But I resent the bundling and string! (Why we can't just dump this
stuff into paper bags--which they now also recycle-- no one will tell me.)
So I'd like to use some sort of tight origami belts (made out of the
recycled paper, of course) to secure these slithery, unstable heaps. Or
have such a sneaky interleaving of these miscel assortmetns of envelopes,
newspaper flyers, junk mail that it all holds together without tying. Any
suggestions?
Thanks
Karen
Karen Reeds
Science/Medicine Editor
Rutgers University Press
Bldg 4161, Livingston Campus
PO Box 5062
New Brunswick NJ 08903-5062
908--445-7762x602
Fax 908--445-7039
reeds@openix.com (for origami)





Return-path: <origami-l@nstn.ca>
Date: Sat, 6 Apr 1996 13:35:38 -0400
From: Peggy Van Norman <ECZ5PEG@MVS.OAC.UCLA.EDU>
Subject: Re: Re: BOS supplies and query to lit ref to origami (arthur Ransome)

reeds@OPENIX.COM(Reeds Family) wrote:

> As an editor at a smallish university press, I can really
> sympathize with BOS's problems doing shortrun projects. Here
> are some suggestions :
>
> 1. Make it easy for non UK folks to send in orders in other
> currencies.  Post equivalent prices in the currencies of the
> countries where the most  overseas orders come from. The
> biggest obstacle for me to ordering the COET  book this minute
> is knowing that, to get a check in pounds, I'll have to  spend
> 2 hours at the bank and get charged at least an extra $5 for
> currency conversion.  (The Arthur Ransome Society has figured
> out a way for American members to send checks in US $--I don't
> know the details, but as soon as we heard they could do it, we
> indulged ourselves and joined.)  If I could mail you my credit
> card order in US $, that would be ideal.

At the UCLA Library, we've done business for several years now
with a company which charges us US$2 for a foreign currency
check.  Perhaps the BOS (and OrigamiUSA for that matter - I'm
sure people around the world also run into prohibitive bank
charges and waiting in lines) could make arrangements with such
a company.

(stuff deleted)

> 3. Work out reciprocity arrangements with Origami USA and
> other groups  so  that members of one group can order at
> members rate with the others.

Long ago, BOS publications were offered on OUSA's (known then as
F.O.C.A.) supplies list - I purchased a few booklets that way,
at reasonable prices and _domestic_ postage rates.  Needless to
say, I thought that this was an ideal arrangement.  I've been
away from origami for a while, and had wondered why OUSA had
stopped carrying BOS items in the interim.  I think greater
cooperation among origami associations is necessary, especially
when you're considering a worldwide origami audience.

If reciprocity meant that each organization could swap
books/publications for their respective supplies lists, the
individual folder could spend their money on books and not
overseas postage or currency conversions.   Maybe OUSA's WWW
page could include a place to tally what books people want (even
unpublished authors, so those of you out there who are
contemplating books can judge whether a book is viable for you).
Then, OUSA would know how many books to stock and the BOS would
know how many booklets to print.

> 4. On any order form, add lines to encourage people to join
> BOS and to send a donation to a publication endowment to help
> fund future projects.

I second this idea, for any origami organization.  For example,
I would not mind sending donations to OUSA to fund publications
or to enable them to carry other organization's supplies; I
would also not mind contributing money so that OUSA can help
other organizations like the BOS.

Peggy Van Norman
ecz5peg@mvs.oac.ucla.edu
