




Return-path: <origami-l@nstn.ca>
Date: Wed, 1 May 1996 11:00:29 -0300 (ADT)
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: review of Lang's Insects book (repost)

Hi, all,

Someone asked for some help with models in Lang's Insects book (I have
unfortunately deleted the message [argh], or I'd send a personal reply).
I was going to send him this review I wrote a while back, but since it
might be of general interest, I'll send it again.  It's not big, about
15k.  You can also find a copy of it via the WWW at:

    ftp://ftp.rug.nl/origami/articles/insects.txt

Enjoy...
-Tim
--
Tim Rueger             Motorola CCRL IC Design Laboratory, IL02-2921
Fax  : (847) 538-4593  Internet: rueger@areaplg2.corp.mot.com

----------------------------------------------------------------------

Robert J. Lang, "Origami Insects and Their Kin", Dover, New York, 1995.
ISBN: 0-486-28602-9.

Model-by-Model Review by Tim Rueger (rueger@areaplg2.corp.mot.com),
August 6, 1995.

------------------------------

Overall Impressions:

This book, in my opinion, considerably advances the state of the art in
published folds.  The diagrams are clear and precise; typographical
errors (inevitable in a book with 1879 diagrams) are easily worked
around.  The photos of his life-sized scale models of his Ant,
Treehopper, and others are impressive.

This book is not for the origami beginner; competency, if not fluency,
with folding complicated models is a must.  Folding these models has
been a terrifically frustrating, and rewarding, experience.  If you like
your origami models complex, this book is a required addition to your
library.

------------------------------

Reviewer's Background:

I started doing complex origami models about two years ago, when I
started picking up John Montroll's books.  I haven't created many
original models, but I immensely enjoy the challenge of complicated
folds created and diagrammed by others.  I really like "Origami Sea
Life" by John Montroll and Robert J. Lang for the sheer breadth (and
difficulty!) of the models, and Peter Engel's "Folding the Universe" for
its in-depth treatment of creativity (but I still haven't completed his
Butterfly).

------------------------------

Peter Engel, "Folding the Universe", Vintage, 1989.  Out of print.
Models referred to: Butterfly, Rattlesnake.

Peter Engel, "Origami from Angelfish to Zen", Dover, 1994.
Republication of "Folding the Universe".

Robert J. Lang and Stephen Weiss, "Origami Zoo", St. Martin's Press, New
York, 1990.  Model referred to: Butterfly.

Robert J. Lang, Praying Mantis diagrams, 1990.  Available via anonymous
FTP at info.service.rug.nl.  World-Wide Web Uniform Resource Locator
(URL): ftp://info.service.rug.nl/origami/models.  Postscript filenames:
mantis.ps1, mantis.ps2, mantis.ps3, mantis.ps4, mantis.ps5, mantis.ps6,
mantis.ps7.  Hostname and filenames valid as of 8/6/1995.

John Montroll and Robert J. Lang, "Origami Sea Life", Dover, New York,
1991.  Model referred to: Atlantic Sea Urchin.

John Montroll, "African Animals in Origami", Dover, New York, 1992.
Model referred to: Spotted Giraffe.

------------------------------
Model: Treehopper
# of Steps: 49
Complexity: **** (Complex)
Final size of model: 7" (starting: 10")

A thorn-shaped insect.  The simplest model in the book, it consists of
long blunt points for a head and tail, and six short legs.  Very large
for its starting paper size.
------------------------------
Model: Spotted Ladybug
# of Steps: 72
Complexity: **** (Complex)
Final size: 2.75" (starting: 10")

A simple bug, with six legs, a small head, and a pleated tail.
Distinguished by color-changed spots on the back, which Mr. Lang freely
acknowledges a being inspired by John Montroll's creations; this
particular instance is similar to Montroll's Spotted Giraffe in "African
Animals in Origami".

There is a tough, small wraparound fold to color-change the head.  My
rendition of the model is probably the least realistic-looking in the
book, since it comes out pretty flat, unlike the "real thing".
Appropriate paper choice would make this model come out better (I used
kami paper).
------------------------------
Model: Orb Weaver
# of Steps: 68
Complexity: **** (Complex)
Final Size: 3.5" (starting: 10")

A good basic spider model.  The abdomen is nicely rounded, and the legs
are naturally proportioned.  The release folds which form the base for
the abdomen are difficult to perform without tearing the paper.  They
are virtually identical to those which form the base for the antennae of
the Praying Mantis (described below), but on an easier, larger scale.
------------------------------
Model: Tarantula
# of Steps: 70
Complexity: **** (Complex)
Final Size: 3.75" (starting: 10")

This model has a very similar appearance to the Orb Weaver, but has a
fifth pair of points at the head for "pedipalps", as they are described.
The body shaping uses closed sinks for rounding.
------------------------------
Model: Tick ("Hungry" and "Sated" variations)
# of Steps: 65 (Hungry), 64 (Sated)
Complexity: **** (Complex)
Final Size: 3.75" (Hungry), 5.5" (Sated) (starting: 10")

Lang's Tick model has eight short legs set toward the front of the body.
The Sated version looks delightfully bloated, in a disgusting sort of
way; the Hungry version is an un-inflated Sated Tick, essentially folded
in half.
------------------------------
Model: Ant
# of Steps: 87
Complexity: **** (Complex)
Final Size: 5.5" (starting: 10")

A surprisingly large model for its complexity, it also looks very
realistic, with fully rounded head, thorax, and abdomen regions.  The
folding of the central pair of legs is a bit convoluted, and there are
some close-quarters sinks required to shape the neck region.
------------------------------
Model: Butterfly
# of Steps: 87
Complexity: ***** (Very Complex)
Final Size: 4" wingspan (starting: 10")

An especially tough model.  It has less delicacy than, say, Michael
LaFosse's butterfly models, but it does have all six legs, fully formed
wings, and antennae.  I like it very much, but it is difficult to fold
neatly.

This butterfly is distinguished from other complex butterfly models I've
seen (Engel's in "Folding the Universe" and Lang's previous one in
"Origami Zoo") by having four separate wing regions, fully separated
from one another.

The folds which separate the wings from the rest of the model are
orthogonal "Elias-type" stretches, similar to those used in Lang's
previous Butterfly.  As with that model, I found it necessary to
precrease the appropriate regions very early in the folding sequence
instead of doing them immediately before they were needed.  Also, the
resulting stretched regions are not tucked up inside the wings as they
were with the previous Butterfly.

The folding of the legs and antennae is similar to the separation of the
points in Lang's Atlantic Sea Urchin (in Montroll and Lang's "Origami
Sea Life"), since all nine body points come from the center of the
paper.  (It is also interesting to note that the two antennae come from
asymmetrically placed points.)
------------------------------
Model: Scarab Beetle
# of Steps: 68
Complexity: **** (Complex)
Final Size: 3.5" (starting: 10")

This model has a nicely rounded body, and color-changed legs and
antennae.  There are a couple closed sinks, one of which is "optional,
because it is difficult" (!).
------------------------------
Model: Cicada
# of Steps: 95
Complexity: ***** (Very Complex)
Final size: 5" (starting: 10")

Another large, realistically-proportioned, good-looking model, but hard
to do well.  The thorax is nicely rounded, and model has very
large-sized eyes and wings.  The eyes and upper and lower jaws are
formed from the center of the paper, so there are several closed sinks
and similar maneuvers used to create these features.  The eyes can be
difficult to do neatly, since they are formed from small, flattened,
eight-sided pyramids.
------------------------------
Model: Grasshopper
# of Steps: 84
Complexity: ****
Final size: 3.5" (starting: 10")

This model is distinguished by very long and thin rear legs.  It is one
of the few in the book which starts with a standard Bird Base.  This is
a good model to start the book with, after the Treehopper; the only
really complicated folds are two closed sinks on the center pair of
legs.  The rear legs tend to spread apart horizontally if springy (e.g.,
kami weight) paper is used.
------------------------------
Model: Black Pine Sawyer
# of Steps: 93
Complexity: **** (Complex)
Final size: about 4.5" (starting: 10")

This beetle model has very long and thin antennae - they are roughly
equal in length to the rest of the model.  The body is relatively thin,
and the legs are placed well forward.  Another of my favorites.

I found a couple maneuvers difficult.  At step 41, two edges of one side
of a stretched Bird Base must be sunk simultaneously; I found it useful
the creases fell.  In step 54, the central crease of a point is to be
flattened and later re-formed after squashing the base of the point.
The description of the flattening as a "sink" had me a bit lost.  Also,
a close-quarters closed sink near the end (step 88) can be skipped if
absolute symmetry is not important to the folder.
------------------------------
Model: Dragonfly
# of Steps: 92
Complexity: **** 1/2 (Pretty Complex)
Final size: 3.75" (starting: 10")

A nicely formed model, with six short legs, four wings, a long, thin,
rounded abdomen, and large color-changed eyes.  Like the Black Pine
Sawyer, it has a lot of personality.

There are some small, complicated sinks buried deep inside the model to
maintain required symmetry during the early folding stages.  The legs
end up very small, and are difficult to thin out neatly.
------------------------------
Model: Hercules Beetle
# of Steps: 101
Complexity: **** (Complex)
Final size: 5" (starting: 10")

This beetle has a prominent upper jaw, a curved single point arching
forward from the head.  The lower jaw is nicely detailed, with a small
"tooth" and eyes.  The abdomen is well-rounded and holds it shape with
small closed sinks.  This model is structurally similar to the Praying
Mantis, with very similar folds used to form the legs and abdomen.
------------------------------
Model: Long-Necked Seed Bug
# of Steps: 100
Complexity: **** (Complex)
Final size: 4.75" (starting: 10")

This model has, as the name implies, a long, thin neck which terminates
in two thin antennae.  One wing overlaps the back asymmetrically.

There is a complicated sink at step 24 that, as with another complicated
sink in the Black Pine Sawyer, I found useful to build on a separate
piece of paper.  The closed sinks which narrow the body at the end of
the folding sequence can be tricky since there is little room to
maneuver at that point.  It is hard to get the neck to stay thin using
springy kami paper.
------------------------------
Model: Pill Bug
# of Steps: 97
Complexity: **** 1/2 (Pretty Complex)
Final Size: 3.5" (starting: 10")

This bug has seven pairs of legs poking out from under a small dome
composed of overlapping horizontal plates.  There are also two small
antennae and a pleated abdomen region.

There are several closed "unsinks" needed to separate points.  Creating
the horizontal plates requires maneuvers which don't have any loose
edges to get hold of.  The necessary rounding is difficult to achieve
with kami paper.
------------------------------
Model: Praying Mantis
# of Steps: 108
Complexity: **** 1/2 (Pretty Complex)
Final Size: 5" (starting: 10")

This model was previously published online in Postscript format by Mr.
Lang via the origami ftp archive at info.service.rug.nl.  It is
essentially reproduced in this book.

The model has long front legs and a nicely shaped abdomen, and is
surprisingly large for a given size of paper.  The antennae are produced
from a complicated set of release folds at the center of the paper which
are difficult to do neatly.
------------------------------
Model: Stag Beetle
# of Steps: 118
Complexity: **** (Complex)
Final Size: 3.75" (starting: 10")

This model has nicely detailed horns on the head region, with a thick,
rounded pair most prominent.  This model's legs are generated from
thinned Elias stretches, whereas most of the other models' legs have a
thinned Bird Base symmetries.
------------------------------
Model: Paper Wasp
# of Steps: 122
Complexity: ***** (Very Complex)
Final Size: 4.5" (starting: 10")

This is a very realistically formed wasp model, complete with eyes,
ribbed abdomen, and stinger.  In addition, the antennae and wings are
color changed.

There are a few difficult sinks early in the folding sequence which are
similar to those done in the Dragonfly.  The ridges in the abdomen are
done with difficult cylindrical crimps (somewhat similar to Engel's
Rattlesnake).  For these, it might be more appropriate to emulate the
proportions of the crimps in the accompanying photograph of the model
than to follow those shown in the folding directions; as diagrammed, it
is hard to get clean, rip-free folds all the way around the cylinder.
------------------------------
Model: Samurai Helmet Beetle
# of Steps: 140
Complexity: ***** (Very Complex)
Final Size: 4.5" (starting: 10")

This is my favorite model in the book, and in my opinion the most
difficult to fold.  The model has a complex point structure on the head,
with four short points at the end of one long one, two thin points at
the base of the head, and a curved "samurai helmet" structure atop the
head.  There is also nice detail of a diamond-shaped "mesocentrum"
region in the middle of the back, and a well-rounded abdomen.

There are several instances of close-quarters sink folds buried deep
within the model.  The helmet region is separated from the abdomen with
Elias-type stretches which must be completed on the inside without
unfolding the model.  This is another region where a study fold saved
the model from certain crumpling.  The cluster of four small points on
the head is folded using several crimps and sinks on a very small scale
(even with the 10" kami paper I used).
------------------------------
Model: Scorpion
# of Steps: 159
Complexity: **** 1/2 (Pretty Complex)
Final size: 3.5" (starting: 10")

The last model in the book, the Scorpion has eight legs, two small
antennae, two very large claws, and a curved, segmented tail with
stinger.

There are several unsinks which separate legs points, and two instances
of turning internal valley points into mountain points by creating
waterbomb bases in the middle of the paper.  It is essential to keep the
first one (in the very center of the paper) neat, since it determines a
good deal of symmetry later on, and the paper layers are configured such
that they are not easily adjusted.
------------------------------

Copyright 1995, Timothy T. Rueger.  This article may not be distributed
commercially.  This article is explicitly prohibited from being used in
any off-net compilation without due attribution and express written
consent of the author.





Return-path: <origami-l@nstn.ca>
Date: Wed, 1 May 1996 11:27:57 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Re: fold hierarchy and first historical references

    >>Subject: Re: Fold Hierarchy and first historical reference to folds

    Hi John Smith, Patricia Gallo, and others,

    Thank-you both for consulting your books for printed references to
    folds, and mountain and valley folds in particular.  I must say I'm
    disappointed to find the terms are of recent origin, as it discounts a
    theory I've been working on.  Over the past year and a half I have been
    assembling references to past and present ceremonial uses of paper,
    early appearences of origami models, and the evolution of origami from
    ritual to its current status.

    As a former historian, it is frustrating to be limited by barriers of
    language and access, and lack of free time.  I appreciate the comments
    made earlier in this forum about the problems of taking information
    found in book prefaces and repeating it as though it were fact.
    Unfortunately, right now that's the stage of my research, so I've tried
    to add Chinese and Japan cultural/social, religious, and artistic
    history to round out the picture.

    The most fascinating question to me is why didn't origami get picked up
    by Zen?  There are so many references to similarities between the two
    that it seems a natural expression.  (Read anybody's preface, or listen
    to stories of the master himself, Yoshizawa and you'll see what I
    mean.)

    Here are some of the other questions and themes that have been puzzling
    me, maybe our readership have some ideas?

    *  In Japan, references to the spread of paper and improved technology,
    new papers, origami publications, etc. are often associated with
    Buddhist temples (paper was introduced by a Chinese priest).  But,
    references to ceremonial uses of paper (the purifying qualities in
    particular) are associated with Shinto temples and ritual.

    a.  Was there a (lost) ceremonial connection in the Buddhist temples,
    or did temples function as technology centers -- spreading information
    and ideas?

    b. How was paper introduced into Shinto ritual?  Did it replace some
    other material like cloth or leather?  Was it simply sharing between
    the two religious traditions?   Knowing when paper appeared in ritual
    would help.  So far, the 12th century AD has turned up in other's
    research.

    * Some books say ritual folds were passed down from father to son (I'm
    assuming this is samuri nobility), others say from mother to children,
    especially daughters (assumption: gifts & training for little girls),
    but then origami almost disappers until Froebel "reintroduces" it as
    art for school children.  There is no time line for these references,
    so I'm filling in the blanks based on Japanese cultural history.
    Bottom line, it seems to me something is missing in the story of how
    origami evolved.  Maybe it's just small details that fill will it in?

    * Did the shift from ceremonial folds to animal and other folds mirror
    the shift seen in art (emphasis on nature).  Lists of first appearences
    will help answer this.

    * In China, was paper invented within the nobility or the temples?  I
    know a enuch invented it, but what was his historical context?

    BTW, my reference to China and Japan in the same sentence was unclear
    and didn't mean to imply a connection between paper folding there.
    What was in the back of my mind was a reference, I believe in one of
    the COET books, that discussed radial folding appearing in China (?).
    It then equated the complexity of that fold to an advanced folding
    tradition that seemed out of synch with simplier traditional models.  I
    didn't have time last night to double-check this reference.

    Again, thanks very much for your time and interest in my earlier
    question.

    Kristine
    ktomlinson@trinzic.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 1 May 1996 11:35:59 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Re: MATH

    For you origami and Escher fans, have you folded Thoki Yenn's DNA 4
    model?  It's in the Conference on Origami in Education and Therapy
    1995(?) book.

    It's a wonderful 3-d rectangle with mirrored mountain and valley folds
    and a twist or two.  Viewed from either angle it looks just like an
    Escher staircase. Is it up, or down?

    Kristine ktomlinson@trinzic.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 1 May 1996 14:15:04 -0300 (ADT)
From: Patrick Antouly <100332.1710@compuserve.com>
Subject: Re: Wrinkly folds

Erik Andersen wrote :
>>PS I downloaded the Geode Software demo...very nice! It teaches you how to...

I tried too, the web page asked me for my name and e-mail address, acknoledged
it and... ???
What should I do after that ? There was no link to download and nothing
appened...

Any idea ?

Patrick A.





Return-path: <origami-l@nstn.ca>
Date: Wed, 1 May 1996 14:23:01 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Origami for the Connoisseur

Just a word of thanks to all who have send me their requests.  I will
contact the publisher(s) this week and start "pushing" them a little.  I
can't make any promises, but I'll try -  will keep everyone posted if I have
any success!

Thank You!
Bren
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
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: Wed, 1 May 1996 14:30:19 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: WebSite - Changes

I have made quite a few improvements to the website - if you haven't visited
in a while, some of the new features are:

International Peace Crane T-Shirts
Who' Who in Origami (I need help with this project)
Artisan Papers (Full sheets of Washi, African Prints, Not-a-Hide, Confetti,
etc.)
Lexan Templates - Yes, they're really square (ask Doug Philips!)
Also - I finally got Michael LaFosse's page completed!
 - I would like to expand on the "Workshops" page - if any of you would like
to be included, please email me privately.

I noted the recent changes to many Origami website and will get the "Origami
Connection" updated soon.

If you would like to be included in our email mailing list, please sign the
"Guest Log" on the website.

Thanks -
Bren
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
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: Wed, 1 May 1996 14:36:41 -0300 (ADT)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Re: MATH: The Origami/Music Connection

This discussion on the comparison of Origami / Music / Math is one I would
like very much to put on the website - both for other folders as well as
teachers working with Origami.  Many of you have been very eloquent - I
wonder if someone would be able to compile the thoughts shared on this list
and write a short "discussion" paper - with the appropriate credits.
Calling any volunteers . . . .

Thanks -
Bren
---------------------------------------------------------------------

At 05:44 PM 4/25/96 -0300, you wrote:
>At 03:23 PM 4/25/96 -0300, you wrote:
>>>Gretchen commented:
>>><< This link is the relationship between both origami and music
>>>to mathematics.  >>
>>>
>>>While aware of the common notion that there is some link between
>>>math and music, I'll admit that I've never seen it myself.
>>
>..
>>        But then again, I recall being taught that mathematics is simply
>>the written language of logic, so anything that has a logical aspect could
>>theoretically be explained in mathematical terms.  Music has patterns, and
>>thus logic, so some aspects of music can be demonstrated mathematically.
>>However, music clearly trancends mere logic and has a more ephemeral,
>>emotional (and thus, as Mr. Spock would say, an illogical quality) to it as
>>well, which cannot be explained with math (at least any math I've ever
>>heard of!  8-)  )
>
>        This is all very interesting to me, being a (not yet declared)
>double major in mathematics and music. There are quite a few math/music
>majors here at Brown, including the conductor of the Brown Marching Band, a
>few orchestra members, and a bunch of people in a cappella groups. In fact,
>most math majors I know are somehow involved with music at Brown. I probably
>couldn't say the reverse, though. Music seems to be a much wider discipline
>in terms of left-brained and right-brained, etc.
>
>        I believe that in general the link is a lot stronger than most
>people think. People who are very interested in mathematics see a beauty and
>elegance (there's that word again...) in mathematical concepts. It is not a
>beauty that can defined in so many terms, but more an inner feeling much
>akin to the love one feels for certain pieces of music. Math is not just
>sheer logic, there's a lot of emotion involved!
>
>        Concerning the patterns and form of music relating to math, I
>certainly agree. Last year I took courses in advanced music theory and
>enjoyed them so much that now I'm the Teaching Assistant for those courses.
>Chord structures and sequences are very mathematical in nature. For
>instance, the minor chord is an "inversion" of the major chord. Also, the
>circle of fifths and other musical patterns that seem natural to the ear are
>very mathematical concepts. Twelve-tone music (like that of Schoenberg) has
>a defined structure, and involves ideas such as interval classes,
>cardinality, and set theory (set meaning a collection of pitches).
>
>        By the way, if anyone has any ideas for a possible thesis topic in
>math and music, let me know! (especially if it involves origami  :-)
>
>-Eric   :-P
>
>-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>      A                   A
>     /|\            \    /|\
>    / | \            \\ / | \ /7\            /-\.
>   /__|__\            \/__|__\/            a miniature
>   \  |  /             \_/ \_/               Kawahata
>    \ | /             Flapping                stegosaurus
>     \|/                bird
>      V                       Eric Andersen   origami@brown.edu
>  Bird Base      http://techhouse.brown.edu/~tech/eric/origami.html
>     Robert Lang models online! Coming soon: Origami Fantasy Page!
>-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
>
>
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
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: Wed, 1 May 1996 22:32:41 -0300 (ADT)
From: Namir Gharaibeh <U50879@UICVM.CC.UIC.EDU>
Subject: Hybrid paper survey

Uh, sorry for the delay, but be happy for me: my last final is over.
I mean, the _last_ one.  Sunday I graduate! Anyway, here we go...

This is a comprehensive (as I can do) survey of hybrid papers.
By this I mean the combination of more than one peice of material
to have a product that has properties of all the composite
materials.  The 3 materials I used are not the end-all of
choices, but I hoped they were indicative of the extremes as to
what is out there.  There is more info on different combos
at Yusri Johan's Web page at
http://www2.gsu.edu/~gs01yyj/origami/oritip.html.
      The method I used to combine the materials was spray glue.
Specifically Blair's Spray Adhesive.  The best adhesives to use
are covered elsewhere (I forget where).  I'm hoping this choice
of adhesive is independant of results I found!
     The scale to rate the hybrids are a varient from Robert
Lang's, as described on page 3 of his book _The Complete Book
of Origami_.  There is a very good discussion about  how to
choose paper.

-Thickness
-Strength (will it rip many layers thick?)
-Crease affinity (how well it keeps a crease) (non-springability)
-Crispness (shapeability)
-Forgiveness (is an unfolded crease still present?)
5=very, 1=not at all

Strength was determined by trying to pull a finished crane's
wings apart, as I didn't have time to fold Peter Engel's crab,
which seems to be a favorite ripper. (very cruel, I know)
    I rated two familiar materials so you get a bearing from
the scale.

Thickness=2 Regular kami
Strength=2
Crease affinity=3
Crispness =3
Forgiveness=2

Thickness=2 Japanese foil
Strength=2
Crease affinity=5
Crispness =5
Forgiveness=5
---------------------------------------------
Tissue Paper=T
Handi-Wrap(plastic)=P
Aluminum Foil=F

T-P-T: tears same as paper, just more reluctant once tear
has begun.  Creases well and flat, and unfolded, the crease
stays, like foil.  Can't get rid of it like T-F-T.  More
floppy than paper.  Sometimes misbehaves and doesn't remain
flatly in place, but could prove helpful in things like
spread-sinks.  Pretty thin.  Thinner than regular washi. Would
suggest for practicing complicated models requiring thinner
paper, but won't give way to shaping.
Thickness       =1
Strength        =high starting, low once started.
Crease affinity =3
Crispness       =2
Forgiveness     =4

P-T: Hard to run fingers down a crease of plastic.  Tried
 plastic side in, paper out.  Stays springy until you use a
fingernail.  Folds and creases are well distinguished.  This
is handy, but was a pain when I had to get two simultaneous
folds before creasing to put them in place (petal fold).
Less stiff than T-P-T.  Thinner still.  If you can cope with
the annoyance of the plastic sticking to itself slightly, this
 is a very good combo.
Thickness       =0 (practically the same as tissue paper)
Strength        =same as before, but not as strong overall.
Crease affinity =3
Crispness       =1
Forgiveness     =4

P-T-P: very hard to reverse a crease.  Very few admirable
qualities.  It is waterproof, though and has a nice glossy finish.
Thickness       =1
Strength        =very, very high strength. High starting and cont.
Crease affinity =1
Crispness       =2
Forgiveness     =2

F-P: I folded with the foil side in.  Almost like regular foil.
Very hard to unfold a crease completely.  Plastic effectively
keeps foil from ripping.  Retains all of foil's bad qualities.
Basically same as regular foil but a little stronger.  Harder
to work with than Japanese foil.
Thickness       =1
Strength        =low starting, high once started.
Crease affinity =5
Crispness       =5
Forgiveness     =5

P-F-P: Slightly more well-behaved.  Foil counters plastic's
inability to hold creases, better than paper, but the foil
combos are a little thicker.
Thickness       =2
Strength        =same as P-T-P, but a little less strong.
Crease affinity =3
Crispness       =2
Forgiveness     =4

P-F-T: Almost same as tissue-foil, but somehow more quiet.
Thickness       =2
Strength        =low starting, high cont.
Crease affinity =5
Crispness       =5
Forgiveness     =5

Plastic: helps in slowing rips that have already started,
or that are about to. Very thin, and a practical additive.

Tissue paper: The nature of paper, and fibrous material
sometimes helps in preventing tears, but sucks once a tear
is started. Helps lend crease affinity to plastic, and
softness to foil.  Equalizes crease affinity in a good way
almost always.

Foil: predictably, it's characteristics overpower plastic
and paper.  Lends great crispness, but is difficult to fold
nicely.  Also, adds the greatest thickness.

Results: These results are pretty predictable, but in the
process, I wanted to strengthen understanding of the properties
of the three materials.  Just recently, I folded Engel's octopus
out of regular kami, and found it difficult to get the shape of
the head right.  For one, it didn't stay (needs foil), and if
I got it where I wanted it, it wanted to rip (needs plastic).
So I made a T-F-P hybrid, and everything came out beautifully.
By that I mean it had its drawbacks, like it buckled a little
and didn't really want to be unfolded, and the plastic stuck to
itself, but the end result was worth more than the difficulties
involved.  In regular kami, it was easy to fold with none of the
aforementioned drawbacks, but couldn't be shaped or was
resilient.  A better understanding of the proprties involved
help make for better choices in creating a hybrid paper.

+-----------------------------------------------------------------------+
| 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: Wed, 1 May 1996 23:02:29 -0300 (ADT)
From: schary@vnet.IBM.COM
Subject: Tesselating fish diags...

*** Reply to note of 04/30/96 17:10
From: Sreenath Chary
    IBM Australia,FF11,
    2 Coonara Avenue,West Pennant Hills,NSW 2125
Subject: Tesselating fish diags...
Hello Nick,
  Can you send me a copy please? My email address is schary@vnet.ibm.com

Thanks,

Regards,
Sreenath
VNET ID: SYDVM1(SREENATH)  (Ph : 61-2-354-7495)





Return-path: <origami-l@nstn.ca>
Date: Thu, 2 May 1996 03:55:59 -0300 (ADT)
From: Nick Robinson <Nick@homelink.demon.co.uk>
Subject: Hyperbolic wotsit

Gretchen Klotz <gren@agora.rdrop.com> offered the following pearls of
wisdom...

>She made a very clever creation from Jackson's sculptural model!

The design is by an Englishman called John Emmett, not PJ - he was
active in the 70's but has been unheard of since. He was a thatcher by
trade, I recall.

cheers,

Nick Robinson

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

Turnpike evaluation. For information, see http://www.turnpike.com/





Return-path: <chee.tang@eng.ox.ac.uk>
Resent-Message-Id: <199605021100.NAA19492@dep.rc.rug.nl>
Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 12:59:51 +0100
Date: Thu, 2 May 1996 06:50:47 -0300 (ADT)
From: chee.tang@eng.ox.ac.uk (Chee Tang)
Subject: Jewellry

Hello everyone,

I'm probably bringing up a topic which has been discussed before on the
list, but goes anyway.....

What kind of materials are generally used to make origami jewellry,
e.g. earrings, brooches, etc.

I've heard of foil mentioned before, but any particular type?

Thanks,

Chee.





Return-path: <DORIGAMI@aol.com>
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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 17:45:45 +0100
Date: Thu, 2 May 1996 11:23:19 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: ARCHIVES twice a month

Martin....on my computer I needed to use a capital L in the message since my
little l is like the number 1 as you can see.  When I used the capital L to
get off the digest as someone suggested it worked right away.  I had been
trying for weeks to do this.  I prefer not being on the digest since I don't
have to unscramble the messages anymore.  For me it is easier this way.
  Thanks for all of your help.  I think you might make this suggestion in
your once a month reminder.  Dorigami





Return-path: <chall@scsn.net>
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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 19:54:49 +0100
Date: Thu, 2 May 1996 13:39:51 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: books by Gay M. Gross

I've been trying to get my book collection sorted out (I attempt this every
year as convention time rolls around, trying to avoid buying duplicates).
Can someone help me with Gay Gross' books?  The titles tend to change, so it
is hard to compare my collection with in-stock lists.

These are the books I own:

Gross, Gay Merrill. 1990. Origami: New Ideas for Paperfolding. New York:
Mallard Press. 0-792-45253-4.

Gross, Gay Merrill. 1992. Napkin Folds for Special Occasions. Philadelphia:
Running Press. (Michael Friedman Publishing Group) 1-56138-165-9.

Gross, Gay Merrill. 1995. The Origami Workshop. New York: Friedman/Fairfax.
1-56799-148-3.  (Previously published as The Art of Origami)

Questions:
Are there any other books by Gay?  Are there any other titles by Gay - and
to which of the above books do the alternate titles belong?  Are the
editions published under alternate titles exactly the same as the above books?

Thanks for help in clearing up my confusion!

{Anyone care to try this exericise for Paul Jackson's books?)

Carol Hall
chall@scsn.net





Return-path: <GURKEWITZ@WCSUB.CTSTATEU.EDU>
Resent-Message-Id: <199605021741.TAA21651@dep.rc.rug.nl>
Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 19:40:58 +0100
Date: Thu, 2 May 1996 13:47:59 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: math and origami review

Just found out that "3D Geometric Origami: Modular Polyhedra" was
reviewed in this month's "Mathematics Magazine". It was a short
review, as they all are, but will bring origami to the attention
of a large mathematical audience. The book was just mailed out in
February, so it's a pretty good response time.

authors: Gurkewitz and Arnstein, Dover Publications, $6.95





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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 20:35:13 +0100
Date: Thu, 2 May 1996 14:24:43 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: RE: books by Gay M. Gross

Gay's newest book is published by Scholastic and is 10.95.
"Easy Origami"





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Resent-Date: Thu, 2 May 96 20:37:41 +0100
Date: Thu, 2 May 1996 14:33:41 -0300 (ADT)
From: "Kimball O. Pomeroy, Ph.D." <koper@getnet.com>
Subject: Re: book bindings

I've listened intently to the discussion on the best method of binding
origami books so they will lie flat and not fall apart. I also like the
spiral bound books I have purchased for fly tieing, but I feel I must
complement some of the book publishers, especially Dover. Sure, the books
may fall apart, but if they do lyou can then bind them on your own or
punch them for a spiral notebook. THe most outstanding quality of Dover
books are they are very inexpensive and the quality of the material is
great. I am surprised everytime I spend less than $20 for a large book
and Dover books are an absolute bargain at $10 to $12. I'm sure that were
they priced much higher, the art of origami may become less accessible to
the general public.

On another note, I reccommend the book "Origami from Zen to Angelfish" by
Peter Engel. Not only does it contain many unique models, but almost half
of the book is devoted to history, mathematics and the an account of the
author visiting Akira Yoshizawa. Engel also discusses many of the
relationships found between the "crossing of the divide between abstract
and concrete representations" - a quote from M. C. Escher (not Hammer),
another topic that has been discussed in the origami mail list.

If any of you know any of the principles of Dover Publishing please pass
on my gratitude for their origami publications which allow origami to
become the art of all classes of people - not just the wealthy. And many
thanks to Peter Engel and his marvelous book that tickles *both* sides of
my brain!
--
Kimball O. Pomeroy, Ph.D.
Laboratory Director
Samaritan Institute of Reproductive Medicine

"You can't change the direction of the wind,
 but you can change the set of your sails."

koper@getnet.com





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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 21:21:03 +0100
Date: Thu, 2 May 1996 15:07:27 -0300 (ADT)
From: DLister891@aol.com
Subject: Fold Hierarchy and Origin of Origami Symbols.

As a newcomer, I have felt diffident about stepping into the Origami-L arena.
However, spurred on by John Smith's challenge (27/04/96), and to mix a
metaphor, I have decided to jump in at the deep end. I have searched in my
papers to try to find more about the origin of our familiar origami symbols.
To be frank, I cannot take the matter much further back than John, but I find
that it is a vast subject, of which I can only scratch the surface. Please
bear with me if this is is longer than the usual note to Origami-L.

1944:    Isao Honda included models by Yoshizawa (identified as such in
Honda's Japanese book "Origami Shuko". (Some sources suggest the date of
publication was 1941, but Gershon Legman maintained that it bore the date,
1944. This book is extremely rare, even in Japan, and I have never seen a
copy, but it appears to be the first publication of Yoshizawa's work. It
would be very interesting to see what symbols, if any, were used with the
instructions.

1950    Yoshizawa was discovered by a Japanese picture magazine. He designed
twelve origami zodiac signs which were published in "Asahi Graph". This was
the first effective launch of Yoshizawa. Important though this article is, I
have never seen it. If it contained instructions for the models, then it may
have used the system of different dotted lines for mountain and valley folds
later used by Yoshizawa in his own books.

1952    As a result of the Asahi Graph article, paperfolding instructions
began to appear in "Fujin Koron"  (Ladies' Opinion), which was a women's
magazine.

           Some time after this models by Yoshizawa also appeared in "Shufu
no Tomo",a magazine for young women. One reference I have puts this as 1957.
But this seems too late. (See below).

1953    For the record, it was during this year that by a most remarkable
stroke of luck, Gershon Legman was put in touch with Yoshizawa, who was thus
discovered for the West only two years after he had been discovered in Japan.

1955    Yoshizawa's first book, "Atarashi Origami Geijutsu", ("New
paperfolding Art")  was published. I have a photo-copy and it contains the
familiar different dotted lines for valley and mountain folds.

            Also in the Summer of 1955, Gershon Legman held the first
exhibition of Yoshizawa's work in the West, in Amsterdam. From then onwards,
Yoshizawa's work came to be widely know in the West, as did his system of
dotted lines and arrows for diagrams. An early issue of the Origamian from
1958 announces the deliberate decision of the recently founded Origami Center
exclusively  to employ the Yoshizawa system for all its diagrams.

I have a fairly large collection of photocopies of Yoshizawa's diagrams from
various sources. (There must be very many more which I do not have). For the
most part, the sources are not identified or dated, but some are.  I have
found the butterfly from Shufu-no-Tomo, traced by John Smith. However, the
date on my copy is April, 1955, not September, 1955. On my copy, the latter
date appears to relate to a rabbit photocopied on to the same sheet. As John
said, the diagram like that of the butterfly, has Yoshizawa's system of
different dotted lines for mountain and valley folds.

To attempt a comparison with other folders, I have looked at books by two
others. I  have a copy of a book by Michio Uciyama called (like so many
Japanese Origami books) "Sosaku Origami", ("Creative Paperfolding").
Unfortunately, I cannot date it. It could be early, but I doubt if it was
published before the 1950s. Michio was the father of Kosho and he published
many books going back long before before the Second World  War. He uses his
own very deeply cut style of folding. But interestingly, he, too, uses the
two kinds of dotted lines to distinguish mountain and valley folds. It would
be very interesting to know the date of this book.

I also have a copy of "Origami: Penguin Book".  Although he is not stated to
be the author, this was Honda's first book in English. It was, however, quite
late being published in 1957. In it Honda  uses identical, simple, dotted
lines for both mountain and valley folds, but he places a letter P (for
"peak") by the side of the lines for mountain folds. Perhaps this was because
he did not wish to be seen to be directly copying Yoshizawa's system. (Honda
modified many of Yoshizawa's own models for his own publications. Robert
Harbin simply said he stole them).

So, after all this, we are little further on from what John Smith suggested
in his much more succinct note.I have nevertheless always understood that the
system of dotted lines and arrows was, indeed, devised by Yoshizawa, and
while I cannot prove this at present, it seems most likely. The actual date
may have been 1950 or earlier. (In the absence of publication this does not
mean much). It may be observed that Honda continued to use his "P" symbol for
in all his many books, including "The World of Origami" of 1965.

In a later development, Robert Harbin introduced the terms squash fold, petal
fold, rabbit ear, crimp etc. in "Paper Magic" in 1956. But although he then
knew about Yoshizawa, he didn't use Yoshizawa's dotted lines in that book.
They were not needed with Rolf Harris's brilliant freehand perspective
drawings. Soon after, in extensive private correspondence, Sam Randlett and
Robert Harbin hammered out a comprehensive system of symbols and terminology
This included the regular bases and these were given the now familiar names
of preliminary fold, waterbomb base, blintz base,fish base, bird base and
frog base. I understand the names were decided upon by Sam. Some of these
terms, like "preliminary fold," waterbomb base" and "blintz base" (Gershon
Legman invented this term) are probably the least happy aspect of the whole
system. Sam thought that it was desirable to show that all the bases were
derived from each other.  Most of them could be, but in the process the
windmill base seems to have fallen by the wayside. The completed system first
 appeared in Sam's "Art of Origami" in 1961, followed by "The Best of
Origami" in 1963 We had to wait until 1964 and the publication of "Secrets of
Origami" before Robert Harbin employed the same symbols with a few
modifications. With this our familiar system of symbols for origami was
complete. There has been  minor tinkering since then, but few changes have
Japanese use Yoshizawa's basic system of lines and arrows, they omit most of
our
Western terminology.

Please send me your comments, suggestions, corrections and objectopns. We
need every scap of information that can be found.





Return-path: <bob@maggie.pentek.com>
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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 21:26:39 +0100
Date: Thu, 2 May 1996 15:28:58 -0300 (ADT)
From: bob@maggie.pentek.com (Bob)
Subject: Re: Jewellry

Hello Chee,

I have been using Robert Maxfield paper for miniature module jewelry.  The
thinness of the paper allows me to work with 12mm squares without building
up much bulk.  The paper is delicate and the finished models need to be covered
with a protective coating.  I have had reasonable success with spray lacquer.
I few months ago 'Joli-Glaze` was mentioned as a product to coat models.  While
I never located it at local art supply stores, a number of people on the list
have used it.  I haven't tried using foil yet, but I assume it would have to be
pretty thin.  Most craft stores sell jewelry findings in gold and silver which
are used to mount, hang, pin, etc. the models.

Good Luck,
Robert
bob@pentek.com





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Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 22:29:48 +0100
Date: Thu, 2 May 1996 16:46:42 -0300 (ADT)
From: Yusri Johan <gs01yyj@panther.Gsu.EDU>
Subject: Convention forms online

Hi all,
        With the permission from Origami USA (thanks Jan), I once again
have put the Origami Convention '96 information and forms online.  For
those who don't know what the Origami Convention is, please take a minute
to visit this URL:

http://www2.gsu.edu/~yjohan/ousa/ousa.html

Please read all of the information provided before you download and print
out the forms.

The forms are scanned in as jpeg files, they are not of a very hig
quality, but you can still read them when you print them out.  I haven't
had a chance to polish them since I tried to put all of these online
a.s.a.p.

Cheers,

--
Yusri Johan (gs01yyj@panther.gsu.edu)
http://www2.gsu.edu/~gs01yyj/origami/origami.html





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Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 23:03:25 +0100
Date: Thu, 2 May 1996 17:33:22 -0300 (ADT)
From: JovianSoft@aol.com
Subject: Re: RE: books by Gay M. Gross

Does Ms. Gross have an E-Mail address?

Thanks.

Neil Alexander





Return-path: <slider@ims.mariposa.ca.us>
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Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 23:04:25 +0100
Date: Thu, 2 May 1996 17:33:45 -0300 (ADT)
From: slider@ims.mariposa.ca.us (Pat Slider)
Subject: Re: books by Paul Jackson

>{Anyone care to try this exericise for Paul Jackson's books?)

This would be a chore....Perhaps I should point out to the list that the
book "Encyclopedia of Origami and Papercraft Techniques" (published by Book
Sales/Chartwell?) currently getting remaindered is not the original
"Encyclopedia" (published by Blackwell?) with the famous pictures of
origami art....In fact, the currently remaindered title only has an excerpt
of the original book of the same title, plus parts of Jackson's "Festive
Origami" (I think that's the title?) and "Make it With Paper"/"Classic
Origami" and Lang's "Origami Animals", and another book on how to make
shadow puppets.

The remaindered title is still a nice book really, good material, but it is
not what I was expecting. I'm returning it as it doesn't really have much
in it that I don't have in another form.

I must say, whoever is repackaging Paul Jackson's material under so many
titles isn't doing him any favors....I am beginning to be leary of buying a
book with his name as an author, at least via the mail when I can't make
sure that it isn't something I already have. Come to think of it, I am sure
that I will think twice before buying books from this publisher.

I guess it is good that this material isn't just going out-of-print, but I
am feeling peevish. Still would like to see the original "Encyclopedia"
sometime though....

pat slider





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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Thu, 2 May 96 23:54:41 +0100
Date: Thu, 2 May 1996 18:31:20 -0300 (ADT)
From: "S. Wenger" <wenger@blue.weeg.uiowa.edu>
Subject: Floral Models

Does anyone out there know of any books based soley of floral models or
some books that contain a variety of flowers other than the usual ones I
see like tulips, Kasahara's rose, and I think it's called a dragon flower
or lily, I'm not sure.

Thanks.





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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 0:26:10 +0100
Date: Thu, 2 May 1996 18:52:24 -0300 (ADT)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: books by Paul Jackson

+>{Anyone care to try this exericise for Paul Jackson's books?)

Noooooooooooooooooooooooooooooooooooo!

+I guess it is good that this material isn't just going out-of-print, but I
+am feeling peevish. Still would like to see the original "Encyclopedia"
+sometime though....

Yeah.  It is nice that the models from Classic Origami have stayed available,
though it sucks that you have to buy a bunch of other stuff as part of the
same book.  Weirdly enough, CO is still in print in England.  Go figure.

-Doug





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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 0:52:52 +0100
Date: Thu, 2 May 1996 19:33:05 -0300 (ADT)
From: CM317@aol.com
Subject: Switching Origami-l E-mail address

I have decided to switch the screen name for which I receive origami-l to

for other mail.

-Chris

PS I just got AOL 3.0





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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 1:56:10 +0100
Date: Thu, 2 May 1996 20:29:28 -0300 (ADT)
From: Patrick Antouly <100332.1710@compuserve.com>
Subject: Re: Copie de : Re: Sink folds

Marc Kirschenbaum (marckrsh@pipeline.com) wrote :

>> layers are arranged The good news is that closed sinks get easier after
>> doing them for a while, and there are some cases where the seem to be
>> easier than their open counterparts. Look for me at the upcomming Origami
>> USA convention, and I would be happy to show how it is done.

Thank you for that Marc, but I live in France !!
I would like to be there for the convention, but I think that it would cost a
little
more that I can afford for an Origami convention... 8-)

Patrick





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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 2:39:30 +0100
Date: Thu, 2 May 1996 21:28:17 -0300 (ADT)
From: JPP <AB10TP3412.cin@desnews.com>
Subject: Delta Air-Lines origami

DORIGAMI@aol.com wrote the following on May 1st, 1996:> Are you kidding or
what....was it an origami seat and who designed it....I
> can't wait to see it!  Dorigami
     I'm 100% serious here!  I think it's pretty neat looking.  It doesn't tell
who designed it.  All I can find on the ad about it is that it says in really
small print at the bottom: (C) Delta Air Lines, Inc.
John Pruess
utahjohn@aol.com
ab10tp3412.cin@desnews.com





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Resent-Message-Id: <199605030203.EAA22518@dep.rc.rug.nl>
Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 4:02:54 +0100
Date: Thu, 2 May 1996 22:47:07 -0300 (ADT)
From: quintin@ra.isisnet.com (L. Quintin)
Subject: bluenose folders?

Are any of you in Nova Scotia?  Let's see a show of hands.

Lise
quintin@ra.isisnet.com in Nova Scotia (Canada)





Return-path: <U50879@UICVM.CC.UIC.EDU>
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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 5:43:55 +0100
Date: Fri, 3 May 1996 00:31:40 -0300 (ADT)
From: Namir Gharaibeh <U50879@UICVM.CC.UIC.EDU>
Subject: Re: Floral Models

On Thu, 2 May 1996 18:32:48 -0300 (ADT) S. Wenger said:
>Does anyone out there know of any books based soley of floral models or
>some books that contain a variety of flowers other than the usual ones I
>see like tulips, Kasahara's rose, and I think it's called a dragon flower
>or lily, I'm not sure.
   I have a book I got from OUSA in Japanese by Takahama.  Lots of flowers
even some stems and stuff.  Some do require cutting, but overall a cool book.

+-----------------------------------------------------------------------+
| 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: <DORIGAMI@aol.com>
Resent-Message-Id: <199605030401.GAA22661@dep.rc.rug.nl>
Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 6:00:35 +0100
Date: Fri, 3 May 1996 00:48:45 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Jewellry

Origami jewelry is an offshoot of origami and has been very popular to make
for several years.  People use all kinds of paper, in fact anything that is
foldable in miniature size. Many people make it to sell and do very well with
it.  You can make either clip ons or pierced.  I prefer making the clip ons
because you just have to glue on the ear clip.  Pierced is more work.  I
don't sell many but make them mainly for myself.  Good luck and I hope you
find your way.  Hope others who have not tried this yet,  try this way of
using origami too because it draws attention to origami and is a lot of fun..
 Dorigami





Return-path: <marckrsh@pipeline.com>
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Resent-from: M.J.van.Gelder@rc.rug.nl
Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 6:42:18 +0100
Date: Fri, 3 May 1996 01:34:08 -0300 (ADT)
From: marckrsh@pipeline.com (Marc Kirschenbaum)
Subject: Re: RE: books by Gay M. Gross

On May 02, 1996 17:33:22, 'JovianSoft@aol.com' wrote:

>Does Ms. Gross have an E-Mail address?

Not yet, but since she has heard about origami-l, I have been keeping her
posted on some of the threads that have pertained to her and her books.

Marc





Return-path: <JovianSoft@aol.com>
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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 8:07:50 +0100
Date: Fri, 3 May 1996 02:56:47 -0300 (ADT)
From: JovianSoft@aol.com
Subject: Re: RE: books by Gay M. Gross

Hi Marc,

Could you tell Ms. Gross that her book was one of the first books we got when
we were researching for our CD-ROM, and that it had a great deal of influence
on us?

Thanks!

Neil & Jean Alexander

PS(We have officially mailed out to our beta testers. Perhaps they will let
everyone know what they think?)





Return-path: <stevew@empnet.com>
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Resent-to: maarten@rc.rug.nl
Resent-Date: Fri, 3 May 96 9:02:36 +0100
Date: Fri, 3 May 1996 03:49:37 -0300 (ADT)
From: stevew@empnet.com
Subject: Re: bluenose folders?

I don't live in Nova Scotia, but I visit there several times a year on
business (technical work for Nova Scotia Power) - I always stay in Halifax.
In fact there's a great little Origami shop in Halifax in the mall that
connects Nova Scotia Power's building with the Chateau Halifax (a hotel).
They have some great Washi papers, books, and some impressive already folded
samples.  Are you near Halifax?
