




Return-path: <origami-l@nstn.ca>
Date: Wed, 29 May 1996 11:30:56 -0300 (ADT)
From: bob@maggie.pentek.com (Bob)
Subject: Re: I need a rose!

Hello Hamilton,

At 09:32 PM 5/28/96, you wrote:
>A freind of mine wants to fold a rose for his significant other....

If you can get a copy of Origami for the Connoisseur (and this has become no
easy feat since it is out of print), the Kawasaki Rose is very impressive.
It is probably considered an intermediate model, but there is one twist fold
which could hurt the mind of the uninitiated.  If your friend is a novice you
may want to step him through it.

The Kawasaki Rose has four flaps on the bottom which interlock to form a hollow
space under the rose.  Vicky Mihara Avery posted a technique for attaching a
stem to the rose as follows:

>For the Kawasaki rose I use a heavy florist wire (slightly thinner than
>clothes hanger wire) and coil one end into a circle perpendicular to the wire
>stem, and glue a ball of cotton on the circle.  This gives a nice base to
>goop glue onto and will fill the inside space of the rose, adding body and
>support.  You need to insert the ball and then close the flaps around the
>stem. If you can manuver some of the cotton to stick out, you can start the
>florists tape around it and create that nice thick part that (I forget the
>biological term...) is directly under a flower.  Then continue down the stem.

This works great.  Thanks Vicky!  My wife has a dozen of these roses sitting
on her desk.

Even if you don't use the Kawasaki Rose, the florist wire and tape can be used.
I tucked leaves and the green leaf-like things which grow directly under the
rose (it's been a long time since high school biology class!) in to the florist
tape as I wraped it to give it a `clean' look.

I'm sorry, I seem to have shot off on a tangent here.  Sorry I couldn't answer
your original question (where can you find rose diagrams?), but if your friend
isn't a purist and you can get a hold of the diagrams, this is a really nice
rose.

Good luck,
Bob
bob@pentek.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 29 May 1996 11:54:32 -0300 (ADT)
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: FLASS PRESS RELEASE

Best wishes to the new parents!
                                 ... Mark
> in its BioRobot (tm) line of carbon-based automata.  This version, called
> Conrad Christian Weres, comes initially weighing (9 pounds 2 ounces)
> and all the beautiful packaging conforms to ASTM biorobotic specifications
> with an overall lineal dimension of 22.0 inches.

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





Return-path: <origami-l@nstn.ca>
Date: Wed, 29 May 1996 11:58:23 -0300 (ADT)
From: Douglas Tucker <dhtucker@spdmail.spd.dsccc.com>
Subject: Re: Tomoko Fuse's polygon boxes

David Wison <71062.1507@CompuServe.COM> wrote:
> I just worked out a useful approximation to the heptagonal box this weekend.
> Looking on page 63 in "Origami Boxes",  if you omit step 7, and then on step 8
> if you fold from the top point of the figure to the lower endpoint of the fold
> shown in the diagram, you can get a good approximation (good enough for
> everything to fit right).  I know it's off about a degree from the actual
     angle
> required, but it fits.

Thanks a LOT for your help!  I tried your suggestion last night
and produced a lovely heptagonal box-lid in the style Fuse describes.

Your solution got me to thinking:
        How did this work?
        How can I adapt this to other polygons?

I've been looking at these models from the perspective of "reduction angle",
how much do I subtract from 180 deg. to get two sides oriented correctly.
Or rather, "fold angle": how much do I subtract from either side of 90 deg.,
where fold-angle is 1/2 of reduction angle.

Your solution gives a fold-angle of 26.6 deg (90 - atan(2/1)), which is close
enough to the ideal 25.7 deg ((360 / 7) / 2).  The key is the *supplementary*
angle formed by atan(2/1), which is fairly easy to fold by existing or derived
landmarks.  In this case, distance from center to top point (sqrt(2)/2) over
distance from center to right side (sqrt(2)/4) -- refer to "Origami Boxes"
page 63 step 8.

So *that's* how you did that! ;-)

OK, how can I adapt this?  Maybe I should be looking instead for convenient
supplementary angles.

polygon                ideal angle:tangent   approx. angle:tangent     %err
-----------------------------------------------------------------------------
triangle (known)
square (known)
pentagon               54 deg : 1.38         56.3 deg : 3/2          4.3%
hexagon (known)
heptagon               64.3 deg : 2.08             63.4 deg : 2/1
     -1.4%
octagon (known)
nonagon                70 deg : 2.75         71.6 deg : 3/1          2.2%
decagon (1/2 pentagon)
11-gon           73.6 deg : 3.41               74.1 deg : 7/2
     0.7%
dodecagon (1/2 hexagon)
13-gon           76.2 deg : 4.06               76.0 deg : 4/1
     -0.3%
14-gon (1/2 heptagon)
15-gon           78 deg : 4.7     78.7 deg : 5/1      0.9%
16-gon (1/2 octagon)

Starting to see the scope of my project?  Nested boxes, from triangle to 16-gon!
I've got rather a lot of folding to do (only 266 units)! ;-)
--
Doug Tucker, aka dhtucker@spd.dsccc.com (DSC Communications Corp.)
"I'm not sure I speak for myself, much less DSC"





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:02:11 -0300 (ADT)
From: jmarcoli@stratacom.com (John Marcolina)
Subject: Re: Origami Animals (Lang)

Jennifer.Campbell writes:

> In response to my quest for a cockatiel model, Brett mentioned the cockatoo
> in Lang's "Origami Animals". What is the scoop on this book? Is it out of
(snip)

I saw this book recently in a Kinokunia (sp?) bookstore. I believe it's a
hardcover.

John Marcolina
jmarcolina@strata.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:06:46 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: FLASS PRESS RELEASE

At 11:54 AM 5/29/96 -0300, you wrote:
>Best wishes to the new parents!
>                                 ... Mark
>> in its BioRobot (tm) line of carbon-based automata.  This version, called
>> Conrad Christian Weres, comes initially weighing (9 pounds 2 ounces)
>> and all the beautiful packaging conforms to ASTM biorobotic specifications
>> with an overall lineal dimension of 22.0 inches.
>
>--
>*-------------------------------------------------------*
>|          Mark E. Casida                               |
>|          e-mail: casida@chimcn.umontreal.ca           |
>*-------------------------------------------------------*
>
Let me also add my congratulations to the newest member of your "fold."
(Sorry, couldn't resist!)

Steve Woodmansee , Bend Oregon
USA
(Stevew@empnet.com)





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:08:14 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: Re: Bases

On May 29, 1996 08:34:24, 'David Holmes <cm4bcdmh@bs47c.staffs.ac.uk>'
wrote:

>How do you make an offset base?

A base can be offset by chosing a different vertex. In the case of the
waterbomb and preliminary bases, the vertex would be at the very center of
the paper. Choosing a different vertex often makes it easier for your base
to mimic the symmetry of your subject (most animals for instance, have more
going on towards the head of the model vs. the tail).

In the case of the fish base, I happen to be fond of a particular
offsetting. I take a standard fish base, and precrease along the angle
bisectors of the fins. When the base is then opened up, the resulting
crease pattern is very promising for a multitude of subjects. If I collapse
along the resulting interior diamond shape, I get something that looks like
a mutated fish base; it has larger fins, and a lot of excess paper at one
end.

>
>Also, Marc, do you have diagrams for the guitarist, drummer and biplane,
>etc. ?

I have been making rough diagrams for most of my new models, but I have
only published a small portion of them. The rat can be found in *Models by
Members* and the elephant can be found in an old Annual Collection. As with
most of my published works, the are available through Origami USA. The
biplane was a one-off (I just recently designed a much better one which I
will teach at the Origami USA convention) If you are just looking for some
good models of instrumentalists and a biplane, you should try Robert Lang's
*The Complete Book of Origami.* Unlike my instrumentalists, his actually
make playing motions when their heads are pulled upon. I do not have the
time to make good diagrams for most of my models (if anyone is crazy enough
to take on the task, let me know), so only a small portion of my work is
being widely circulated.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:11:57 -0300 (ADT)
From: Maumoy@aol.com
Subject: OFTC, Flying Origami, ORU

I was at Kinokuniya in NYC yesterday.  They had 3 copies of OFTC's  1992
edition @ $18.  Also Nakamura's Flying Origami 1992 edition @ $9.  They had
issues 1-12 of ORU @ $34 each.

They will take mail orders for books in stock. They'll need author, title, &
ISBN (if you have it).  Their NYC address at Rockefeller Center :  10 W 49th
St, NY, NY 10020, Tel 212-765-7766, FAX 212-541-9335.  Hours are 10AM to
7:30PM, seven days a week.

I told them the OUSA Convention  would be in NYC at the end of next month so
they should expect lots of customers.  They take credit cards.  They're using
an exchange rate of $1.60 per 100 yen.  Some of their origami paper has been
REDUCED from $3.60 to $3.00 per package. I found 6 books by Fuse or Momotani
that I wanted and 3 that I had to have.

Also visited the origami Statue of Liberty by David Shall at Liberty Island's
museum.

 There's a wonderful bicycle exhibit in the lobby of Paine Webber at 1285
Sixth Avenue between 51st and 52nd St.  Open Monday - Friday 8AM - 6PM, thru
Oct 4.Most of the early bicycles were mfged in Birmingham, England or the
Midwest States in the US.
Beautiful French advertising posters.

Marcia Mau





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:13:23 -0300 (ADT)
From: Iron Will Dawes <wdawes@cs.nmsu.edu>
Subject: origami in movies

  For those of you who have been following the appearance of origami
in movies, I recently saw "Fist of Legend", starring Li Lian-Jie (his
American name is Jet Li, or something). Anyway, there's a scene where
his Japanese wife is folding traditional cranes. She's making several
and leaving them on the table, for some reason.
                              -Will





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:14:57 -0300 (ADT)
From: "Na. (NAKANISHI Ken-ichi)" <nakanish@pd.scei.sony.co.jp>
Subject: Re: Charging for Diagrams & Homepage

In mail <1.5.4.16.19960529084747.0fc70cfa@mailserver.nist.gov>
    sychen@leatherback.nist.gov writes:
> At 05:54 AM 5/29/96 -0300, Na. (NAKANISHI Ken-ichi) wrote:
> >
>
> >
> >     http://www.ask.or.jp/"origami/t/
> >
>
> A typo? http://www.ask.or.jp/~origami/t/

I'm sorry.  You're right.

I made a mistake because I've been using three types of keyboards
in touch method--Mac, Unix, and Win(PC).

I put new three links to domestic site.  Two of them have English
contents.

--
nakanish@pd.scei.sony.co.jp (NAKANISHI Ken-ichi, not Kenichi Nakanishi)





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:16:28 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: Re: Origami USA Magazine

On May 28, 1996 12:06:21, '"MICHAEL G. WAREMAN"
<MIKE@lrc.oldscollege.ab.ca>' wrote:

>Hello:
>
>I am trying to decide which of the many origami organizations to join and

>would like some information concerning the Origami USA magazine.  Can
>anyone provide an indication of what origami models and skill level have
>been presented in the origami USA magazine?

For people such as myself, I have found Origami USA's *The Paper* to be
enjoyable for it's interesting interviews and articles, and for it's
ability to keep me up to date on origami events and happenings around the
world. I guess some people are mainly concerned with which models will be
featured in the current issue.  It just so happens that it is my job to
help pick out the models, so I know a bit about the criteria used.  *The
Paper* devotes at least six pages towards models, and they are decidedly
diverse. We have featured all skill ranges, but the level of complexity
does seem to center on the intermediate area. Sometimes we try to have the
models relate to a feature article or event. We also like to have as many
countries and atrtists represented, so you are boiund to see interesting
models from unusual sources. I am proud to be a part of this publication. I
should note that if models are your thing, you should really check out the
Annual Collection, arguably the most expansive collection of models put out
by an origami organization.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 07:17:56 -0300 (ADT)
From: Vincent & Veronique <osele@worldnet.fr>
Subject: Re: Dividing edges into multiple divisions

Hello,

Jennifer Campbell write:
>
> Don't mean to sound flip, but for a quick division into sevenths with a
> minumum of guilt I'd use a calculator and a ruler!
> Gasp!

I have a lovely method that use only a ruler with number equaly
spaces (no calculator) and wich is easy.
It could divide square or rectangle into N.

1) Put the 0 of the ruler on one side of the parper.

2) Put the M of the ruler on the other side. M is a number which
could be divide by N easy (easely, easily !?!) The ruler could do an
angle with the paper's sides.

3) mark each M/N tick of the ruler. That all.

Exemple: if your paper is 10,2 cm large and you want to divide by 3.
Put 0cm on one side, 12cm on other and mark every 4cm.

   _____
  !     !
  !    12
  !    /!
  !   8 !
  !  /| !
  ! 4 | !
  !/| | !
  0 | | !
  !_|_|_!
   1 1 1
   - - -
   3 3 3

Vincent
 _______                                                     _____
|       | Osele Vincent                   Membre du MFPP    /|    |
|       | osele@worldnet.fr                                /_|    |
|       | http://www.worldnet.fr/~osele/origami.htm       |       |
|_______| -----------------> ORIGAMI -------------------> |_______|





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 09:04:55 -0300 (ADT)
From: "C:WINSOCKKA9QSPOOLMAIL" <nick@homelink.demon.co.uk>
Subject: Re: Charging for Diagrams & Homepage

In article: <9605290851.AA00732@deneb.pd.scei.sony.co.jp>
nakanish@pd.scei.sony.co.jp writes:

> Or do you consider unreasonable to pay for the diagrams of the
> models drawn by Kawahata-san, Yoshino-san, etc. though they're
> not professional?

That's up to them. I'm happy for a publisher to pay me for my work, but
wouldn't dream of charging a fellow folder. I think that bringing charges in
takes away from the sharing of origami that I believe strongly in.

cheers!

Nick Robinson

nick@homelink.demon.co.uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 09:06:36 -0300 (ADT)
From: "C:WINSOCKKA9QSPOOLMAIL" <nick@homelink.demon.co.uk>
Subject: one section? two sections?

In article: <960529125111_75070.304_CHK43-1@CompuServe.COM>
75070.304@compuserve.com writes:

> Nick R. sez <<divide into eighths and remove a section..>>
> Then you wouldn't have the same edge left, eg a square.

Obviously you have to remove a section on each side. You Yanks - such
nit-pickers....

cheers!

Nick Robinson

nick@homelink.demon.co.uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 09:45:24 -0300 (ADT)
From: Bruce Stephens <stephens@math.ruu.nl>
Subject: Re: Charging for Diagrams & Homepage

Nick Robinson writes:

> In article: <9605290851.AA00732@deneb.pd.scei.sony.co.jp>
> nakanish@pd.scei.sony.co.jp writes:
>
> > Or do you consider unreasonable to pay for the diagrams of the
> > models drawn by Kawahata-san, Yoshino-san, etc. though they're
> > not professional?
>
> That's up to them. I'm happy for a publisher to pay me for my work, but
> wouldn't dream of charging a fellow folder. I think that bringing charges in
> takes away from the sharing of origami that I believe strongly in.

It all depends on what the agreement between the designers and the
publishers of ORU says.  If I designed a model and gave ORU persmission
to publish the diagrams, I'd be upset if they stuck the diagrams on the
WWW without asking me, regardless of whether I regarded myself a
professional or not.

Broadly I agree with your last point: most origami designers don't do
it for the money, and want their designs to be seen.  I'm sure Robert
Harbin (and, of course, all of the designers of the models in his
books) would much rather the books were freely available over the web
than quite tricky to obtain.

On the other hand, we want to support publishers who publish origami,
and scanning a Nick Robinson book and giving it away would be bound to
be perceived as a disincentive to publish books.  (Even if most origami
books end up being remaindered anyway...)
--
Bruce Stephens          B.Stephens@math.ruu.nl





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 11:43:40 -0300 (ADT)
From: David Holmes <cm4bcdmh@bs47c.staffs.ac.uk>
Subject: Re: I need a rose!

On Wed, 29 May 1996, Bob wrote:

> Hello Hamilton,
>
> At 09:32 PM 5/28/96, you wrote:
> >A freind of mine wants to fold a rose for his significant other....
>
> If you can get a copy of Origami for the Connoisseur (and this has become no
> easy feat since it is out of print), the Kawasaki Rose is very impressive.
>
Origami for the Connoisseur *IS* available (in limited numbers) from a
company called Biblios in the UK, for 18.95 pounds sterling.

        Biblios, Star Road, Partridge Green, West Sussex, RH13 8LD
        Telephone: 01403 710971

        Credit cards, or cheques payable to Biblios.

I say limited numbers because when I ordered a copy about 2/3 weeks ago,
they only had seven copies in stock.

Hope this helps,

David M Holmes                  cm4bcdmh@bs47c.staffs.ac.uk
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
British Origami Society        Association of C & C++ Users





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 13:29:14 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: one section? two sections?

<< then you'd have a smaller piece of paper than
you started with>>

nitpicknitpicknitpicknitpick....

semantics: We Yanks are "nitpickers"; on the other side
           of the Big Pond, it would be "a commendable
           attention to detail"...

:-)

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 13:31:04 -0300 (ADT)
From: Alasdair Post-Quinn <acpquinn@panther.middlebury.edu>
Subject: Re: Charging for Diagrams & Homepage

On Thu, 30 May 1996, C:WINSOCKKA9QSPOOLMAIL wrote:

> > Or do you consider unreasonable to pay for the diagrams of the
> > models drawn by Kawahata-san, Yoshino-san, etc. though they're
> > not professional?
>
> That's up to them. I'm happy for a publisher to pay me for my work, but
> wouldn't dream of charging a fellow folder. I think that bringing charges in
> takes away from the sharing of origami that I believe strongly in.

I'll charge my fellow folders copying costs for the diagrams, but that's
it. I am, as I said, only a student and any small amount of income is
welcome. But you're right, Nick, I don't charge for the diagrams, I
charge for whatever it cost me to copy them -- generally no more than
$1.00. I have had no complaints; most people are willing to pay such a
paltry sum for a set of new diagrams if it's something they're really
interested in.
-alasdair
acpquinn@midd-unix.middlebury.edu





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 15:25:14 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Re: Edwin Corrie - not online

Brett <BrettAndJill@OIA.Net> sez

>Who posted those flat duck diagrams awhile back ?

Me, I'm afraid - they are from a forthcoming "beginners book" that I've
written for the BOS.

cheers,

Nick Robinson
nick@homelink.demon.co.uk

***Origami is Sharing, not Selling***





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 15:38:53 -0300 (ADT)
From: dcunning@netcom.com (Dave Cunningham)
Subject: Origami Book ERRATA & HINTS

I thought it might be nice to compile a list of hints and
typographical errors for the various origami books.  I've spent
hours pulling my hair out trying to complete a step only to finally
discover that the instruction is in error, the illustration is
missing an edge, or there is an easier way to complete the step.

While a comprehensive listing would be overwhelming for an
individual to compile, it could be easily compiled by taking input
from the many members of the folding community on the net.  With
that in mind, I am compiling my own discoveries of errors and
hints as a "seed" list.  I will incorporate verbatim any
submissions I receive and post the updated list (with
accreditation) much like a FAQ.  I'll keep this up until (1) the
task becomes too time-consuming for me and I am able to hand it off
to one of the origami web-page owners, or (2) it is obvious there
is not much interest.

----------------------------------------------------------------
                  ORIGAMI BOOK ERRATA & HINTS
                       v1.0  May 29, 1996
        compiled by Dave Cunningham, dcunning@netcom.com
----------------------------------------------------------------
DISCLAIMER:  This is in no way to be construed as a critique of the
various books or authors mentioned.  Far be it for me, an
inexperienced folder with no original creations, to criticize those
who have done so much to advance the state of the art of origami.
Indeed, the contributions of these artists have enriched my life as
I am sure they have enriched the lives of all the folders who would
read this.

This is intended only to be a reference for those who hit a
roadblock during the folding of a new model and would like some
clarification or direction on how to proceed.  All are invited to
submit discrepancies or hints discovered during the folding of a
model.

Of course, just as books contain errors, this compilation will
surely be flawed in some way.  Therefore, I refer to errors as
"probable errors".  There is a distinct possibility that
instructions I view as flawed are, in actuality, just fine and it
is my own inability to follow directions that has caused the
problem.  When that is the case, I certainly want to know.

To submit an entry to the ORIGAMI BOOK ERRATA & HINTS list, e-mail
the following information to dcunning@netcom.com: Name of book,
author, model, page number, problem, and solution.  To help me out,
please use the entries that follow as a template, limit your line
length to 78 characters or less, and proof your submissions.
----------------------------------------------------------------

_ORIGAMI from Angelfish to Zen_ (formerly _Folding the Universe_)
by Peter Engel.

Scorpion, p.169 & 170.
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In steps 43 & 44, it is difficult to form the
     mandibles as instructed and illustrated.  Later steps become
     impossible to complete.

     Solution:  Step 38 contains a probable error.  You are
     instructed to turn the model over.  Don't.  If you do, you'll
     end up trying to make mandibles out of leg flaps and vice-
     versa.  The problem is that at this intermediate step, the
     both sides look identical but contain different hidden flaps
     (that will later be formed into legs, mandibles, or claws).
     To ensure you are working with the correct flaps, note that
     the claw flaps contain pincers (formed by the petal folds in
     step 6).  Starting at the top or back of the scorpion, the
     order of the flaps are head, claw pair, mandible pair, four
     leg pairs, and the belly flap.  Note: creating the petal folds
     that are unfolded in step 5 appears to serve no purpose.

     Problem:  The tail is difficult to curl in step 72.

     Solution:  Roll the tail into a tube (exposed edges down).
     Referring to the drawing in 72, dent the tube on the sides
     where the valley folds intersect with the sides.  Dent the
     tube on top and bottom where the valley folds intersect with
     the centerline.  Arch the tail upward a bit and deepen each of
     the dents until it can be formed into a curl as required.

Knight on Horseback, p. 219
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  The mountain folds in step 22 are difficult to make
     sharply and accurately due to the thickness of the paper.

     Solution:  Just prior to step 21, determine where these
     creases will fall and pre-crease them while the paper is
     unfolded and thin.

Crab, p. 130
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In step 25, the two locking flaps cannot be rolled
     and locked because the model is too thick.

     Solution:  Use thin foil-backed paper.  I don't think this
     model can be folded well with ordinary origami paper (even
     with the aid of a vice).

     Problem:  At step 24, the paper tears on the top at the
     centerline from fatigue.

     Solution:  Perform step 22 prior to step 20 and leave the body
     flap folded to isolate the problem area from stress.  Doing
     this also prevents your having to release paper from the claws
     in step 22.

Reindeer, p. 193-203
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In step 29, the "closed" inside reverse fold is
     difficult to perform without tearing or crumpling the paper.

     Solution:  Pre-fold the paper so that the problem fold is not
     required.  Prior to step 13, valley fold the right hand side
     of the paper to the left about a vertical crease located at
     the intersection of the long diagonals (approx 10% of width)
     and leave folded.  At step 29, release this loose paper and
     proceed as abnormal.

     Problem:  In step 32, the thick inner layers bunch up during
     the 3-D rabbit's ear and prevent the center point from
     aligning as shown in step 33.

     Solution:  This is hard to describe so have a model in front
     of you.  The thick inner layers must be spread to the sides to
     conform to the outer layers.  Upon completion, the thick inner
     layers will form a depression or sink (concave when viewed
     from the right) and the sink will have as its vertice a line
     rather than a point.  This line will lie along the back of the
     neck and can be seen in step 34 as the shortest diagonal line
     segment in the drawing.  It starts at the middle of the
     drawing and extends up to the right to the beginning of the
     white flap.  The segment lies on a line which extends to the
     right-most point of the drawing.  Confused?  Me too.

     Problem:  In step 43 the back of the leg flap is shown as
     white but only the outside of the paper is exposed when
     folded.

     Solution:  This is a probable error in the drawing.  Ignore
     and proceed.

     Problem:  In step 50 the diagonal edges that run from the top
     of the antler flaps to the sides of the head run behind the
     flaps outside of the ears rather than in front as shown in the
     drawing.

     Solution:  This is a probable error in the drawing.  Ignore
     and proceed.

_Origami Insects_ by Robert Lang

Grasshopper, p.37
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  At the conclusion of step 42, the model contains an
     edge that is not shown in the drawing.  The edge in question
     is shown in step 33 as a diagonal line that extends from the
     left-most point up to the top in the center.  This edge is not
     shown in step 37 or 42 through 47 but is above the left
     triangular leg flap shown in step 47.

     Solution:  This is a probable error in the drawings.  Ignore
     and proceed.  See step 61 which correctly shows the edge as
     present.

_Origami Sea Life_ by John Montrell & Robert Lang

Hermit Crab, p. 157
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In step 12 the top inner and outer flaps are
     constrained or bound by the sink formed in step 10; however,
     the drawing in 12 seems to indicate that the flaps are free
     and unconstrained.

     Solution:  This is probably a slight inaccuracy in the drawing
     -- indeed, the flaps are constrained.  An easy way to perform
     the sink in step 10 is to fold down the front and first inner
     flap on the right about the horizontal line while spread
     squashing the left side (that will be sunk).  The sink is
     completed upon closure.

     Problem:  Step 40 is hard to do without tearing paper and to
     leave the result shown in 41.

     Solution:  Loose paper must be released on the right hand side
     during this fold.  The colored triangle which is shown in 41
     and bisected by a pending valley fold is formed from this
     loose paper.

Atlantic Purple Sea Urchin, p. 148
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In step 29 the unsink is difficult to perform
     because there is nothing to grab.

     Solution:  Place your thumbs on the outside of the rabbit ear
     and your forefingers on the inside.  Create maximum friction
     by firmly pressing the two layers of paper between thumb and
     forefinger.  Without allowing the paper to slip against the
     forefingers, slowly pull your forefingers up and "roll" the
     paper out of the sink until the inner valley fold crease is
     now a mountain fold.  This is easy to do with paper but more
     difficult with foil.

     Problem:  In step 31 it is difficult to pull the folded edge
     from inside the pocket and turn a layer inside-out without
     tearing the paper on the inside.

     Solution:  Rather than attempting to book-fold the inner layer
     straight over from left to right, begin by pulling the
     innermost point down and to the right.  During the fold (or
     unfold), this point should be essentially rotated down and
     around at a constant distance from the top of the short stubby
     point above the pocket.  Another trick is to open the pocket,
     grab the inner layer to be pulled out and push the short
     stubby point back up flat and away from where you are grasping
     the inner layer thereby unsinking the paper.  Again, paper is
     easy, foil is hard.

Chambered Nautilus Shell, p. 62
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  In step 23, two vertical flaps on the left
     (symmetric about the horizontal center-line) are colored but
     indicated as white in the drawing.

     Solution:  The drawing is probably in error.  Ignore and
     proceed.

     Problem:  Steps 24-26 are difficult to perform without tearing
     the paper along the centerline.

     Solution:  Minimize fatigue of the center-line by lightly
     creasing in steps 1 and 6.  Lightly crease any folds at the
     points where they cross the centerline as in steps 12-22.
     Form the crease pattern shown in 20 without performing steps
     19 or 21.  Be particularly careful in 23 to not stretch
     sideways at the centerline during the folding of the thick
     layers.  Do not flatten completely after 23.

     Problem:  Steps 24-26 are difficult to perform without
     crumpling the pleats.

     Solution:  Open the model about 90 degrees during the these
     steps.  After each section is pulled out, make sure the new
     folds are cleanly along the creases formed in 20 and the old
     folds are completely unfolded and flat.

     Problem:  At the conclusion of step 26, the inner colored
     double layers are twisted and bunched preventing the model
     from lying flat.

     Solution:  The fold pattern of the inner layers must mirror
     the outside of the model.  Using the drawing in 22 as a
     reference, the mountain folds indicated on the colored flaps
     will end up as mountain folds, the valley folds will be
     unfolded and flat, and the existing creases will be valley
     folds.

Lionfish, p. 137
Submitted by Dave Cunningham, dcunning@netcom.com

     Problem:  The sinks in steps 99, 101, and 105 are difficult to
     perform.

     Solution:  A slender chopstick down the gullet (the fish's,
     not yours) helps.  The path through to the back fin is easy to
     find.  The top and bottom fins take some probing.





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 15:46:36 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: New BOS web site!

I'm pleased to announce the new site is on-line, complete with lots of
diagrams to download, details of (zzzzz) COET, how to join and featuring
the worlds first animated flapping bird! (It needs netscape or it won't
flap!

Before I publicise it via webcrawler etc., could I invite you all to
check it out & let me know of any major of minor cockups?

The address is:   www.rpmrecords.co.uk/bos

RPM being my brothers CD company - you might care to check that out as
well, by knocking the bos off, as it were.

cheers,

Nick Robinson
nick@homelink.demon.co.uk

***Origami is Sharing, not Selling***





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 16:12:36 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: New BOS web site!

>
> I'm pleased to announce the new site is on-line, complete with lots of
> diagrams to download, details of (zzzzz) COET, how to join and featuring
> the worlds first animated flapping bird! (It needs netscape or it won't
> flap!
>

Haven't I seen a flapping bird at Tom Stamm's site?

Richard K.
(R.A.Kennedy@bham.ac.uk)





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 16:55:23 -0300 (ADT)
From: rita <rstevens@philly.infi.net>
Subject: Re: Origami USA Magazine

can you provide an address & more details on how to join or subscribe?
thanks.  rita.

At 07:16 AM 5/30/96 -0300, you wrote:
>On May 28, 1996 12:06:21, '"MICHAEL G. WAREMAN"
><MIKE@lrc.oldscollege.ab.ca>' wrote:
>
>
>>Hello:
>>
>>I am trying to decide which of the many origami organizations to join and
>
>>would like some information concerning the Origami USA magazine.  Can
>>anyone provide an indication of what origami models and skill level have
>>been presented in the origami USA magazine?
>
>For people such as myself, I have found Origami USA's *The Paper* to be
>enjoyable for it's interesting interviews and articles, and for it's
>ability to keep me up to date on origami events and happenings around the
>world. I guess some people are mainly concerned with which models will be
>featured in the current issue.  It just so happens that it is my job to
>help pick out the models, so I know a bit about the criteria used.  *The
>Paper* devotes at least six pages towards models, and they are decidedly
>diverse. We have featured all skill ranges, but the level of complexity
>does seem to center on the intermediate area. Sometimes we try to have the
>models relate to a feature article or event. We also like to have as many
>countries and atrtists represented, so you are boiund to see interesting
>models from unusual sources. I am proud to be a part of this publication. I
>should note that if models are your thing, you should really check out the
>Annual Collection, arguably the most expansive collection of models put out
>by an origami organization.
>
>Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 17:41:23 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Golden Venture

There is an article on the Golden Venture saga in the Thursday, 30 May 1996
edition of The Christian Science Monitor.  It is a double-page spread which
includes 5 color photographs.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 18:15:43 -0300 (ADT)
From: contract@nyc.pipeline.com (Contractors Exchange)
Subject: Re: Origami USA Magazine

On May 30, 1996 16:55:23, 'rita <rstevens@philly.infi.net>' wrote:

>can you provide an address & more details on how to join or subscribe?

I guess I was somewhat convincing. For future reference, contact
information can be found at the archives, but to save you the trouble, here
it is:

Origami USA
15 West 77th Street
New York, NY 10024
212 769-5635/6

They will be happy to provide you with a brouchure about their
Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 30 May 1996 23:11:59 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Origami USA Magazine

At 04:55 PM 5/30/96 -0300, you wrote:
>can you provide an address & more details on how to join or subscribe?
>thanks.  rita.
>

>From the Spring newsletter (which had a nice interview with Peter Engel and
a diagram of his Begonia leaf):

Origami USA
15 West 77th Street
New York, NY 10024-5192
ATTN: Membership

Types of membership:

Junior (up to age 18): $18
Individual (USA only): $25
Neighbor (Canada & Mexico: $30
Overseas: $35
Family: $40
Contributing: $75

and now they have a fax machine, (212) 769-5668, and can handle credit
cards. When I finally joined, I just faxed in my address, appropriate
membership category, and of course, credit card info.

Now if only Phylliss Meth at the Origami Source had a FAX machine. AND I
WISH ONE COULD HAVE BOOKS SHIPPED UPS -- I've been waiting 6 weeks for some
import books. sigh. Daily disappointment at the mailbox :-<. Perhaps it is
time for me to write a letter and see if my order ever got there? But
really, I don't mind paying more in shipping to get books faster.

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 03:53:54 -0300 (ADT)
From: vicky@infoarch.com
Subject: creators fees (was- more o

 creators fees (was: more on selling models)

Hi Janet -
my apologies for not responding sooner.  I've been wading
through email hell (getting doubles of each message... its a
long story).

BTW, This is a reply to my message about charging a
"creators fee" for professional (commercial) jobs.

Your message: (sorry I don't know how to make those do-dahs
appear at left)
How do you usually contact the creators for permission and
payment of royalties?  Do you go through the publisher?  And
what are your opinions on an appropriate fee?  Do you stick
with some percentage of the fee paid, or does it depend on
the model, the fee you are earning as compared to the cost
of the diagrams, or some other criteria?

Also, I still am not clear about implications of using
models in non-
commercial situations, like as favors at a wedding, a
display for a
library, or an xmas tree that will be auctioned for charity.

I'm sorry if I am beating a dead horse with this topic - I
think we all want to 'do right' by those that have enriched
the art (and gnarled our
fingers!) with their efforts.

well...
The fee I collect for the creator depends alot on the fee i
can charge and how important it is to the project.
Generally aim for $20 - $50 and explain to the client that
this pays for permission for the use of the design in a
commercial situation.  I try very hard to contact the
creators in advance, but more often than not the timeline
does not allow for much advance notice.  I can say that I
have not had any creator be upset at me for sending them
some money because their model was chosen for use ;).

I just finished a "origami sushi box" for an ad agency and
one of the elements was a Montroll lobster.  I think I
billed them $150 for the model (plus alot more for the rest
of the box), but the entire job expanded to a large
presentation thanks to showing them a sample lobster I
happened to have.  I'm sending JM $45 because without the
lobster it would have been a less lucrative job.  I contact
creators by making phone calls to folders I know to find
them.  For the people in Japan I generally send them
chocolate or some souvenir in lieu of money.

I haven't yet formed an opinion about fees for
non-commercial use.  Perhaps it would be appropriate to at
least send a photo or some acknowledgement that the model
was chosen for a special event?

Vicky Mihara Avery
vicky@infoarch.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 09:04:48 -0300 (ADT)
From: jadr@oce.nl (Sjaak Adriaanse)
Subject: Re: diagramming hints

DORIGAMI wrote:
>I am interested in starting a discussion on diagramming.  I would like hints
>for diagramming and your favorite tricks.

I do not diagram very much but once I designed and cut some cardboard
template pieces that give you several useful angles. I measured the angles
in 16ths of a full circle (so 4 means right angle).
Using three pieces with the right angles you can draw most triangles
occurring in origami in any size.
Like this:

   |
   |
   |
   |\
   | \
   |  \
   |   \
--------\
         \
          \

I also made a two zig-zag pieces and marked some useful points along the
sides, like this

  v    v  v
--------------
              |
              |
              |      measure here!
              |     v
              ------------------
                    ^     ^    ^

By sliding the pieces along and using the marks you can quickly draw a
square, half square, 1/3 square, silver rectangle etc. Like this:

             v    v  v
-------------------------
              |          |
              |          |
              |          |       measure here!
              |          |      v
              ------------------------------------
                     ^     ^    ^

Greetings,
Sjaak

----------------------------------------------------------------
Sjaak Adriaanse
email: jadr@oce.nl
----------------------------------------------------------------

 This note does not necessarily represent the position
 of Oce-Nederland B.V. Therefore no liability or
 responsibility for whatever will be accepted.





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 12:28:17 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: paying or giving?

Gretchen Klotz <gren@agora.rdrop.com> sez

>Why, Nick, a sentence that ends in a preposition.  I expected more from
>your superior British grammar. ;-)

I wouldn't recognise a preposition if one crawled up my leg - grammer :)
was never my strong point. Come to think of it, I haven't many strong
points!

>I've been wanting to ask you: what is the BOS policy on selling models?

I don't *think* we have an official policy - perhaps John Smith can
clarify. I understand that we share Micheal Shall's feeling that origami
should be free if at all possible. People earning money from a fold (in
an advert for instance) should ALWAYS seek permission first & pay where
appropriate. The scoiety backs this right up with legal action (usually
succesful!) where appropriate. Authors rarely make enough to pay for
contributions & I've never been offered (or requested) any. I accept
that many people sell decorative folds at craft fairs, but the important
aspect is the scale of it all. If someone makes decent money, they are
honour bound to pay the creator - this happens in music via the PRS
system (I get UKP3.00 every three years, such was the level of musical
success I attained!)

If people think web publishing is going to seriously affect their
income, that's fine, but I can't see anyone scanning in a whole book
just to save a few pounds. Really, it's the ethic that concerns me - are
we in it for cash or pleasure? Paul jackson has probably earned more
from publishing than most & he places no restraints on publishing his
work, permission aside.

>I certainly understand your personal point of view -- you've made that
>abundantly clear.

Have I gone over the top again? Sorry ;(

cheers,

Nick Robinson
nick@homelink.demon.co.uk

***Origami is Sharing, not Selling***





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 14:43:23 -0300 (ADT)
From: Alex Bateman <agb@mrc-lmb.cam.ac.uk>
Subject: Alex Bateman's WWW page has moved

Hello all,
          My WWW origami page has moved to the new URL below.

http://www.mrc-cpe.cam.ac.uk/cpe/jong/agb/origami.html

Please change your bookmarks and links.

Bye for now
Alex

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 15:14:13 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: prepositions (non-origami content)

>>Why, Nick, a sentence that ends in a preposition.  I expected more from
>>your superior British grammar. ;-)

Just had to respond....the English grammar rule of not ending a sentence
with a preposition dates from when grammars were based on Latin grammars.
These days, most modern linguists have tossed this one out the window. Only
the die-hard strict grammarians cling to it. Prepositions at the end of
sentences are natural in English, especially in questions. If you try to
avoid them, you often wind up with some strange, awkward sentences.

For example:

        "Which way is up?"
        "What are you asking for?"

By the way, you can say that this is an issue dividing "descriptive" grammar
and "proscriptive" grammar. The former believing in a grammar that
"describes" English as it is, the latter in a grammar that imposes "rules".
I think that is important to realize that "proper English" is traditionally
the defined grammar of the English dialect spoken by the upper classes.
Other English dialects actually have their own consistent grammar rules and
are not inferior. Of course, it helps to know "proper English" in the
professional world, but important to realize that other English dialects
have their own beauty, i.e. Robert Burns and Zora Neale Hurston's "Their
Eyes Were Watching God" (one of my favorite books).

Well, I guess this was an unsolicited diatribe in response to an idle
comment....Someone must have pushed a button ;->. My apologies.

pat slider





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 16:42:46 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Time & relative dimension in Origami

Valerie Vann <75070.304@compuserve.com> sez

><< then you'd have a smaller piece of paper than
>you started with>>

Not if you use paper stolen from the TARDIS ;)

cheers,

Nick Robinson
nick@homelink.demon.co.uk

***Origami is Sharing, not Selling***





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 17:44:27 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Folding machines?

Found a page for a paper-folding machine called "Origami" for printers:

http://www.ultimate-tech.com/homepage/origam.html

Now if only they can make it do diagonals and sinks and....

Of course, maybe there is some pureland model this thing could handle?

pat slider.





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 17:49:32 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: ORIGAMI PARTY

(My apologies to those who live too far away to come.)

YOU are invited to an ORIGAMI Party at my house in Belmont,
Massachusetts (near Boston) on Sunday, May 9, starting at 2PM till
whenever, to help build an enormous modular structure (Menger's
Sponge) out of business cards, and shmooze and eat things.  We will
almost certainly not finish the sponge at this gathering, but I hope
to make some headway on it.

If you missed my earlier messages about the sponge, and want to know
more about this project, write me (whether you can come to the party
or not).

For directions to my house, send me email.  (That way, I can get a
head count on potential guests.)  I will provide snacks and drinks,
but feel free to bring your own if you want.

        --Jeannine Mosely (j9@concentra.com)
         (suffering from "Menger's Spongeiform Encephalitis",
          also known as "Mad Card Disease".)





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 17:51:03 -0300 (ADT)
From: mike <76003.3034@compuserve.com>
Subject: Hats

  I am looking for some good paper  hats. Does anyone have any good origami hats
they could suggest?

                     Mike Henderson
                     76003.3034@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 18:10:57 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: ORIGAMI PARTY (correction)

Oops, I meant June 9, of course.  (It will be many years before May 9
is a Sunday again.)

   (My apologies to those who live too far away to come.)

   YOU are invited to an ORIGAMI Party at my house in Belmont,
   Massachusetts (near Boston) on Sunday, May 9, starting at 2PM till
   whenever, to help build an enormous modular structure (Menger's
   Sponge) out of business cards, and shmooze and eat things.  We will
   almost certainly not finish the sponge at this gathering, but I hope
   to make some headway on it.

   If you missed my earlier messages about the sponge, and want to know
   more about this project, write me (whether you can come to the party
   or not).

   For directions to my house, send me email.  (That way, I can get a
   head count on potential guests.)  I will provide snacks and drinks,
   but feel free to bring your own if you want.

           --Jeannine Mosely (j9@concentra.com)
            (suffering from "Menger's Spongeiform Encephalitis",
             also known as "Mad Card Disease".)





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 18:22:54 -0300 (ADT)
From: DLister891@aol.com
Subject: Address of V'Ann Cornelius

V'Ann,

I have been trying to send you a private E-mail, but I do not appear to be
able to get through using the E-mail address attached to your letter to me.

Could you please send me your correct address?

David Lister.





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 18:36:44 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: terminal prepositions (non-origami content)

Sorry to further the NORM, but I gotta add my favorite sentence on this
topic: a son, questioning his father's choice in bedtime reading material,
asked "What did you bring that book I asked you not to read to me out of up
for?"

Or as someone famous is reputed to have said, "Ending a sentence with a
preposition is something up with which I will not put!"

In a lame attempt to claim relevancy for this topic, I note that the terminal
preposition is a mainstay of verbal origami instruction, e.g., "Fold this
flap up; bring the top flap over; open the model out;" and so forth.

Robert





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 18:46:04 -0300 (ADT)
From: Ann McGrath <mcgrath@enter.net>
Subject: Re: Alex Bateman's WWW page has moved

Alex Bateman wrote:
>
> Hello all,
>           My WWW origami page has moved to the new URL below.
>
> http://www.mrc-cpe.cam.ac.uk/cpe/jong/agb/origami.html

Well, I'm doing something wrong... I can tell... I got this message
when I tried to reach your new URL:

"403 Forbidden

Your client does not have permission to get URL
/cpe/jong/agb/origami.html from this server."

Either that, or it just doesn't like me. <g>

Ann A. McGrath   Email: mcgrath@enter.net
Easton, PA, USA         Fold it once, fold it twice then fold it once
                     again.





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 20:09:35 -0300 (ADT)
From: "Lori S." <104613.670@compuserve.com>
Subject: origami card

>>  I received the neatest note card from a friend. It was
    just a piece of paper that was folded so that it tucked
    itself in and didn't require an evelope to be mailed. I
    would like to send her back something similar. Is there
    origami books available that have stationery projects
    or self mailer projects?

   I just saw this on a service.
   I havve the same question! Where could I find a pic &/or
directions of this kind of card?
>>  I received the neatest note card from a friend. It was
    just a piece of paper that was folded so that it tucked
    itself in and didn't require an evelope to be mailed. I
    would like to send her back something similar. Is there
    origami books available that have stationery projects
    or self mailer projects?
   Thankyou so much.





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 20:54:54 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: Golden Venture

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

> There is an article on the Golden Venture saga in the Thursday, 30
May
> 1996 edition of The Christian Science Monitor.  It is a double-page
spread
> which includes 5 color photographs.

I actually got to see one of these modular sculptures today by
accident.  There was an Asian Heritage display in my office building
today over lunch.  I happened to be running by on the way to a meeting
as they were taking the display down.  One of the items was a swan
obviously made with the modules that we have been discussing.  It was
quite graceful.  I was not able to talk with anyone about the source of
the sculpture - maybe they will have the display up again tomorrow.

Janet Hamilton
dbsh47b@prodigy.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 20:56:13 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: Origami Book ERRATA & HINTS

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

> I thought it might be nice to compile a list of hints and
typographical
> errors for the various origami books.  I've spent hours pulling my
hair
> out trying to complete a step only to finally discover that the
> instruction is in error, the illustration is missing an edge, or
there is
> an easier way to complete the step.

Here are a couple:

Yamaguchi/Origami for Children, Volume 3, Flower Origami Page 75, step
5.  The model name is in Japanese, but it looks like a sunflower with a
face.  Step 5 is drawn rotated 180 degrees from where it should be,
given the drawings in the preceeding and following steps.

In Step 2 of Pat Crawford's "Mermaid" as seen in the out-of-print
_Origami:  A Step-by-Step Guide" by Robert Harbin, the diagram shows a
simple mountain fold, but it absolutely and in all ways HAS to be a
valley fold, or else you'll never get the rest of the model to work!

Janet Hamilton
dbsh47b@prodigy.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 21:19:01 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: Hats

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

>   I am looking for some good paper  hats. Does anyone have any good
> origami hats they could suggest?

Mike,

You might want to contact Ellen Do Yi-luen (ellendo@spot.colorado.edu).
She had students design hats for a class.  Here are some parts of her
message:

_______________________________________________________________________
______

i am pretty happy that among the various models there are quite a  few
pretty  good ones that i am thinking about putting in web to share
with
everyone

it will appear in http://wallstreet.colorado.edu/ENVD3002/origami.html

high points...
there are hats for fireman, gardner, infant, soldier, jester,  king,
nun,
pope, etc. (pretty cool, these are just beginners to origami!) (about 6
person's instruction of folding are not clear, all the rest  diagrams
are
pretty easy to follow)

low points.. (there are 5 who did not invent anything) one suggested a
boat
can be a nurse hat, two just reproduce the cup and  purse i show at
class
without any modification, another one just use a bird  base and open
one end
to be worn at head, then there is a stapled  triangle fold to be a hat
(who
said they can use things other than folds  to hold the hat together?)
and
then there is a head band design (can you  call it a hat?)..





Return-path: <origami-l@nstn.ca>
Date: Fri, 31 May 1996 21:23:30 -0300 (ADT)
From: Jennifer Andre <JAndre@cfipro.com>
Subject: Re: origami card

     I'm sorry I can't see your private return address, Sender, so this bit
     gets posted...

     The talented friend may have a copy of "Origami Greetings."  (I think
     that's what it's called.)  It has a similar model or two, as well as
     other really neat stuff.  Most models require rectangular paper of
     certain proportions, but that's just part of the challange, eh?

     I'm sorry I don't remember the author's name on the brain at the moment,
     but if you would like it, I can answer privately on Monday (Pacific
     Daylight Time side of the Dateline).

     TTFN!

     Jennifer A.  (JAndre@cfipro.com)

______________________________ Reply Separator _________________________________
Subject: origami card
Author:  origami-l@nstn.ca at Internet
Date:    5/31/96 4:18 PM

>>  I received the neatest note card from a friend. It was
    just a piece of paper that was folded so that it tucked
    itself in and didn't require an evelope to be mailed. I
    would like to send her back something similar. Is there
    origami books available that have stationery projects
    or self mailer projects?

   I just saw this on a service.
   I havve the same question! Where could I find a pic &/or
directions of this kind of card?
>>  I received the neatest note card from a friend. It was
    just a piece of paper that was folded so that it tucked
    itself in and didn't require an evelope to be mailed. I
    would like to send her back something similar. Is there
    origami books available that have stationery projects
    or self mailer projects?
   Thankyou so much.





Return-path: <origami-l@nstn.ca>
Date: Sat, 1 Jun 1996 07:45:03 -0300 (ADT)
From: The Hailwoods <100652.2721@compuserve.com>
Subject: Alex Batemans WWW page

>Well, I'm doing something wrong... I can tell... I got this message
>when I tried to reach your new URL:

>"403 Forbidden

>Your client does not have permission to get URL
>/cpe/jong/agb/origami.html from this server."

>Either that, or it just doesn't like me. <g>

>Ann A. McGrath

I got the same message too. Anyone got any ideas?

- Jez Hailwood (Southampton, UK)

e-mail: 100652.2721@compuserve.com
