




Return-path: <origami-l@nstn.ca>
Date: Thu, 20 Jun 1996 22:40:21 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: New Web Page Stuff

I've recently added to the Photo Gallery of my models on
my Compuserve Web Page:

http://ourworld.compuserve.com/homepages/valerie_vann

The photos include an Angel I designed last fall (during Gretchen's
1000 Crane project), a gizmo I call "The Magic Rose Cube",
and some of my Strut/Wireframe Unit & Twist Unit Polyhedrons.

For some rudimentary hints for making the square
Shen Dish pictured in Jackson's Encyclopedia at the URL:

http://users.aol.com/polygons/shendish/shendish.html

Warning: the Shen Dish site is particularly graphics intensive;
if you're on a slow connection, shut the graphics off and get
the text hints file first.

I'm overhauling and adding to my main site on AmericaOnLine:

http://users.aol.com/valerivann/index.html

There will new photos of some of my Omega Star variations ("Super
Spikey Variation"), additional Strut/Polyhedron models, and
boxes.

If you check into any of these three Web pages in the next
few weeks, be sure to reload the pages to get the latest
updates and additions. Currently the Compuserve page is
linked to the other two, and all will be linked soon.

Also, for those who are just getting into origami-on-the-Web
and/or the origami-L mail list:

The mail list archive site, where you can find all the back
messages from the mail list, plus lots of neat diagrams for
models in FTP/downloadable format, does have a nice Web
front door that makes it easy to use with your Web browser,
thanks to Maarten van Gelder, the origami-l archivist. (The
archive site, by the way, is in the Netherlands.)

(You get a convenient menu rather just the intimidating FTP-style
mainframe directory structure...)
The URL is:

ftp://ftp.rug.nl/origami/welcome.html

(Novices: Yes, a URL can have "ftp" on the front, not just
"http"; its for accessing sites that are mainly for downloading
files.)

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 00:10:34 -0300 (ADT)
From: deg farrelly <ICDEG@ASUVM.INRE.ASU.EDU>
Subject: Digesting Origami-L

Jay Ansill writes:

>By the way, I'm rather new at this computer thing, and I've been enjoying the
>list, but how can I get in in digest form?

For the benefit of all who may want information on Digesting Origami-L
with a little explanation of how lists work...

Digest is an alternative means of receiving the posts sent to a discussion
list.  Instead of receiving each message as a separate note, once a day
you receive a *single* message containing all the notes distributed by
the list in the past 24 hours.   Usually the messages are preceeded with
a list of the subject lines and names/e-mail addresses of the original
poster.

One advantage of a digest is that you do not have to wade through all
the lines of "received by..." that often precedes e-mail notes.

A digest is particularly useful if incoming e-mail interrrupts or
disrupts other work in process, OR, if your internet provider charges
you for each and every e-mail note you receive.

One problem with digests is that they make replying to an individual
or a particular note a little more difficult.  The computer sees
only a single note, usually with the subject line "Digest".  Using
the "reply" function on a digest is not recommended.  *Especially*
if your mail reader automatically copies the note as part of the
reply!)  I've had messages in other lists where a reader replied
to a digest and sent the *entire* previous day's notes to everyone
on the list!

As with other lists settings, to activate the digest setting you
need to send a special note to the *listserv* for the list.  The
listserv is an automated program that redistributes postings,
provides indexes to archives, etc.

All listservs operate similarly, though some have slightly different
requirements.

To set your Origami-L mail to receive a digest instead of separate
individual notes:

   1)  Send a note to:  LISTSERV@NSTN.NS.CA
       (Do *not* send the note to Origami-L)

   2)  Do not put anything in the subject line

   3)  Text of the note (in the first blank line
        of the message area) should read:

        set origami-l mail digest

   4)  Do not sign the note or use a sig file at
         the end of the note.  The listserv will
         know who and where you are.

You should receive an automated response telling you how much
computing time you used and/or that your mail options have
been set to "Digest"

Hope this is of benefit to you.

o)-(

Stickman

deg farrelly
1601 West Sunnyside Drive, #115       E-Mail:  deg@asu.edu
Phoenix, Arizona  85029               Phone:   602.943.8175

Media Librarian
Arizona State University West         E-Mail:  deg@asu.edu
4701 West Thunderbird Road            Phone:   602.543.8522
Phoenix, Arizona  85069-7100          Fax:     602.543.8521





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 00:15:31 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: For VERY serious washi fans....

Saw this title listed at Powell's. Not for me :->, but I thought I would
pass it on in case someone else was interested....

Washi the World of Japanese Paper by Hughes, Sukey
Published by Kodansha America Inc (0870113186,19xx)
Subject: CRAFT, Section: PAPER CRAFT
In Stock: 1 at 120.00 (used,hardcover,Burnside)

Powell's phone numbers:

Toll free (US & Canada): (800) 291-9676
Voice: +1 503 228 0540 x482
Facsimile: +1 503 228 1142

Wonder what this book costs new?

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 02:17:06 -0300 (ADT)
From: halgall@netverk.com.ar
Subject: Re: Other Pursuits

Hello!!

  > I'm curious to know what other hobbies we origami artists pursue, such
  > as the string figures.  This is not a scientific survey; no results
  > will be collected.  It might be interesting to see what other
  >similarities we share or can come to share!

Following with the theme of the hobbies, that one of the most important for
my are to do
origami,  deal of interpretting to the authors of every creased the most
serious manner,
studying technical. Also to study the origin and the history, this carries
much time and
dedication. :) :)

My pleasure is to teach this art to the children,  they divert and
entertained many,  were fold
together and afterwards each one invents an story with them. Besides, is a
pleasure to teach
in  homes which old people live,  they find a moment of distraction, and to
the final of every
year,  they make cards,  boxes,  etc,  and give as a present between them,
this is a cheer to
see  fold as to the children ( please, permit me this little pride ). :) :)

In my country, Argentina, is not diffused the origami :( :( . For that deal
that know it, then I
teach it,  and various of my students, nowadays, already are it teaching also.
Since time I am trying to could to be applied in the schools, as intended it
once Ligia
Montoya, and not could be possible.:(.

Other hobbies :Draw,  to read many,  and  TO PLAY WITH MY SONS ( they also make
origami too ), and. ..Learn english to be able to communicating with you.
(Sorry for my
english).

For all a big regards from Argentina.

Patricia Gallo
calle 45 numero 898
1900-La Plata
Republica Argentina
halgall@netverk.com.ar





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 02:55:05 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Fwd: Selling my own model.

Maldon Wilson writes:
>
>1. How do I go about copyrighting the diagram?

It is born copyrighted as soon as you draw it.

>2. How much does it cost?

Nothing.  There are, however, steps you can take to make your
copyright more easily enforcable, and to increase the awards for
damages in such a case.

You should put "Copyright (c) 1996 Maldon Wilson, all rights
reserved" on the diagram.  This may increase your award in a
copyright-infringement case, by providing evidence that the
violation was deliberate.  Note that the copyright symbol MUST be
a 'c' in a circle -- the (c) I used above to illustrate it is not
recognized, and is the same as leaving the copyright notice off
altogether.

You can also register your copyright with the U. S. Office of
Copyrights, for $20.00.  Use form VA.  This, will make it much
easier to enforce your copyright.

>3. How do I know some one else hasn't done it before? (As I say it is very
>simple.)

It doesn't matter, since you are only copyrighting the diagrams
you have drawn, not the design of the model.  Anyone can redraw
your diagrams in their own style, and you would have no legal
recourse.

You could theoretically copyright the model itself, but that
still does not give you grounds for action against someone who
reedraws the diagrams -- only against individuals who fold your
model, and that doesn't help much.

The only way to really protect the design of the model is to have
it patented, which will cost you thousands of dollars, even if
you do it in the cheapest way possible.  Is your designn worth
that much?

>4. If I copyright but don't publish does this protect my rights to the model?

Yes, but whether or not you have published affects your
subsequent action for copyright-infringement.  See Circular 40
for more details.

>5. If another folder wants to publish the envelope in a book do I earn
>anything?

If they publish *your* diagrams, yes.  Negotiate payment,
royalties, or both.  Just remember that you should ask for less
than it would cost the publisher to have your diagrams redrawn by
someone else.

>P.S.All this refers to US copyright.

Well, it more or less applies to all signatories of the Berne
Convention.

  -- Steve Arlow

P.S.:  As I've said before, everything you would possibly want to
       know about U. S. Copyright Law, including the forms to
       file, can be found at:

<a href="http://lcweb.loc.gov/copyright/">U.S. Copyright Office Home Page</a>

       If you don't have WWW access, you can use Lynx remotely
       via telnet: "telnet ukanaix.cc.ukans.edu", and log in as
       "lynx".  Once you are in lynx, hit "g" (for "Go to URL")
       and type "http://lcweb.loc.gov/copyright/".  You can also
       access these materials via gopher or ftp (including
       ftp-by-email).  If for some strange reason you can't even
       use ftp-by-email (reading this list from some crippled
       mail software from a UUCP-connected site?), you can get
       everything but the forms faxed to you automatically by
       calling 202-707-2600 from a touch-tone phone, and keying
       in the number of your fax machine.

       Before answering questions about copyright law in front
       of several hundred list subscribers, one should at least
       read "Copyright Basics", Circular #1 from the U. S.
       Copyright Office.

           -- SEA

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 08:29:48 -0300 (ADT)
From: PamGotcher@aol.com
Subject: Re: Other Pursuits

In a message dated 96-06-19 15:51:22 EDT, you write:

<<  I'm curious to know what other hobbies we origami artists pursue, such
      as the string figures.  >>

I'm also an avid figure skating fan.  This may be obvious by my earlier quest
for an origami ice skater  (great thanks to Rob, Richard, Robin, Doug, Nick
and everyone else who helped me in that trek<G>).  I even have a webpage
dedicated to the ice dancers Torvill and Dean at
http://users.aol.com/tanddfanp/

Pam





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 12:04:08 -0300 (ADT)
From: Lisa_Hodsdon@hmco.com
Subject: Re: Digesting Origami-L

Thanks to Deg Farrelly for a very nice explanation of the pros
and cons of digests!

A minor note to add: you can get information from the listserv
about the various settings for the list (and unsubscription
info too!!!) by sending a help message to the listserv:
Message: help
-> You will receive a list of help files available from
   the listserver
Message: help set
-> You will receive a list of settings for receiving mail
   (includes how to digest AND how to turn digest off)

(*)sometimes known as listserv@nstn.ns.ca --I haven't noticed
that it makes any difference, YMMV.

Lisa
Lisa_Hodsdon@hmco.com

ObOrigami: I folded the "Kawasaki" rose from OftC last night.
Now I'm off to the archives to find all those helpful messages
about how to lock the bottom! I started Engel's giraffe, but
then my hard drive backup finally finished and I went to bed...
Gotta practice those twist folds so I won't be in over my head
if I get to take Chris Palmer's class in NYC!





Return-path: <origami-l@nstn.CA>
Date: Fri, 21 Jun 1996 12:25:21 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.COM>
Subject: Re: Robert Lang's Pianist

At 01:10 PM 6/20/96 -0300, you wrote:
>Hello fellow folders:
>
>I have been trying to do Robert Lang's Pianist but seem to get stuck at
>step 26 - 27.  I can the image image in step 25, but can't seem to get step
>26 to look like the figure in step 27.  I also seem to have problems
>getting the figure (man) to fold downward as indicated in step 28.  Also,
>if you know of any other trouble spots please indicate them as well!!
>
>Another question is how do some of you get the paper to these odds
>dimensions Lang wants them in.  (The book I have is titled: "THE COMPLETE
>BOOK OF ORIGAMI by Robert J. Lang)
>
>
>I am also having trouble with the rose in "ORIGAMI FOR THE CONNOISEUR".  I
>am able to get the flattened shape with the folded square center, but I am
>unable to get it to twist into the three dimensional shape.  I have the hints
>but they don't seem to of much help for this step.

Sorry I don't have the answer for you, but I wanted to remind you that if
you do get some help we have amongst us someone who is faithfully collecting
all reported problems and their solutions.  He requests that you e-mail both
the problems described above and (later) the solutions you receive.  The
address is dcunning@netcom.com.

Should turn out to be quite a valuable document when he completes it.

Cheers,

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 12:39:35 -0300 (ADT)
From: Pam & Namir <pgraben@umich.edu>
Subject: Other pursuits

>The similarity between these crafts seems to be using your hands to make
>something complex....The other similarity to me is the tactile joy. Be it
>yarn or paper or polymer clay.
>
>pat slider

True true.  I would have to put in a bid for Legos.  I've been in with that
     crowd over since birth, practically!  There is something to be said about
     creating here also.  I became a prolific creator in Legos (using the
     twiddling/doodeling and conceptualiz
        As for a similarity in Legos, I can see that both requires (Legos to
     less extent due to unlimited pieces) having to come up with a design
     within a given constraint of material.  True, you can use more lego pieces
     to come up with more realistic mod
        Looking back at it, I would extend Pat's observation to include the
     ability or pursuit of building or creating within established constraints.

!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
     !

Pamela Graben,         We and the world, see, we got
Namir Gharaibeh                this understanding!

          pgraben@umich.edu





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 16:02:47 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: LEGOs.

Legos are great! Coincidentally a couple days ago I was watching my
six-year-old following the diagrams with his latest LEGO set acquisition. I
was thinking that reading LEGO diagrams was great preparation for reading
Origami diagrams. You know, you glance ahead to the next diagram to help
figure out the current one, etc....

pat slider
slider@yosemite.net

>True true.  I would have to put in a bid for Legos.  I've been in with that
crowd over since birth, practically!  There is something to be said about
creating here also.  I became a prolific creator in Legos (using the
twiddling/doodeling and conceptualizing methods) but can't come up with
anything origami.





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 16:17:10 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: LEGOs.

I've received a postcard showing LEGO style bricks folded from paper, and
then assembled!

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 16:43:47 -0300 (ADT)
From: Michael Adcock <adcock@Menudo.UH.EDU>
Subject: Re: LEGOs.

>
> I've received a postcard showing LEGO style bricks folded from paper, and
> then assembled!
>
> Richard K.
> (R.A.Kennedy@bham.ac.uk)
>
Anyone know where the diagrams are for these origami lego bricks?

I always enjoyed legos... I still have all of mine boxed up and put away.
I'd love to see an origami lego brick or get diagrams.

Richard, did it look as if there were different sized/shaped bricks in the
postcard?

Michael

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

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 18:15:27 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@PLATINUM.COM>
Subject: Re: Other Pursuits and Embossing

    HOBBIES

    Here's another contribution to the question of what other hobbies
    folders have.  Some days it seems as though I don't have any hobbies.
    Instead, I have lots of "jobs" that don't pay :-}  They are:

    * origami which replaced my former art "job" -- cartooning and graphic
    design.
    * researching non-Western religions and beliefs (can you tell from my
    postings? :-)
    * lead singer and rhythm guitartist in a rock band (this surprises my
    coworkers for some reason)

    To relax, I watch sci-fi shows and cook exotic and/or fattening
    recipies and then eat them!  Knock on wood, so far my metabolism can
    handle this couch-potato behavior without serious "side" effects.

    EMBOSSING and DECORATING ORIGAMI

    The embossing thread Pat Slider started is interesting.  I'm planning
    on taking an adult ed embossing class which uses stamps and powder.  As
    a former cartoonist and a current professional writer, I'm interested
    in the interplay of art and words.  Historically, words have symbolic
    meaning to the Japanese and since Heien times were painted on houses,
    or used to shape ponds, etc. and I wanted to combine that with origami.

    But when I used my Chinese name seal on models, the text -- though
    "graphic" characters and a non-native language -- detracted from the
    model.  Hopefully, embossing will maintain the subtley appropriate for
    origami.  BTW, having your own stamps made gets around copyright
    concerns and they're not that costly if they're small and you do the
    art in the correct size.

    I've experimented with creating paper designs on the computer and xerox
    machines with a lot of success.  It was suggested that this might be
    useful with embossing, but it sounds like embossing requires special
    slow drying (?) ink which is the opposite of what printers and xerox
    machines have.  Will pursue this in the embossing class and post any
    ideas/answers.

    Kristine
    ktomlinson@trinzic.com
    Waltham, MA, USA





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 19:40:54 -0300 (ADT)
From: darth@mlode.com
Subject: Re: Other Pursuits

Please cancell all future messages

thanks   darth





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 19:42:16 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Fwd: Selling my own model.

Steve writes:
<<that still does not give you grounds for action against someone who
redraws the diagrams -- only against individuals who fold your
model>>

Sorry, folks, copyrighting the MODEL does NOTHING to prevent
anyone from doing ANY of the following:

1. "reverse engineering" the model, that is, figuring out how
to make a copy by looking at either the model or a photo of it.
Or even, if they happen to have an original model, taking the
model apart. This is done all the time, and is NOT a violation
of copyright.

2. Drawing their own diagrams after doing (1) above. In fact,
whoever does this owns the copyright of the NEW diagrams,
simply because they are drawings, which are copyrighted to
the artist as soon as they come into existence.

3. Making a zillion copies of your model from your copyrighted
diagrams. Your copyright applies ONLY to YOUR DIAGRAMS, which
are copyrightable as drawings ("works of art"), i.e the tangible
expression of an idea, not the idea itself.

4. You CAN copyright your models, that is EACH PHYSICAL real
very thing, (in fact, its copyrighted in the USA as soon as
you, or anyone else for that matter, "makes it" (i.e. brings
it into physical existence as an individual "work of art").

But the copyright applies ONLY to each specific physical
model, so is in fact, of no practical value, except perhaps to
prevent someone from selling that specific physical model as
their own work. Those of us who do write the copyright on
our models do it primarily as a part of our signature,
and to date them, not out of any misapprehension that it will
prevent someone from making one.

>From a practical standpoint, only DIAGRAMS are worth copyrighting,
and be advised that that copyright applies only to the copying
without permission of the DIAGRAMS. It does not apply in any
way to the IDEA, PROCESS, PROCEDURE for making the model which
is  the SUBJECT of your diagrams. As Steve noted correctly,
you could PATENT the process from making the model, but it would
be very expensive, and unless you plan to manufacture the
models and sell them, has no practical point either. If I
wanted to make an exact copy of a Mercedes Benz, for my
own entertainment, just by examining one, I could.

If you look in the archive of past messages to the list, you
will find copyright and origami discussed at length
(some list members would probably say "ad nauseum"... ;-)

Many origami designers & folders, on the other hand, would
consider one or all of the actions on the list above to
be bad manners, if performed without at least seeking
the permission of the original model designer as a matter
of courtesy.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 20:42:52 -0300 (ADT)
From: cwalker@wheel.dcn.davis.ca.us (Cindy Walker)
Subject: Re: LEGOs.

>I've received a postcard showing LEGO style bricks folded from paper, and
>then assembled!
>
>Richard K.
>(R.A.Kennedy@bham.ac.uk)
>

Did it show how it was done?
///////////////////////////////////////////////
/                                             /
/             Cindy Walker                    /
/      http://www.dcn.davis.ca.us/~cwalker    /
/       cwalker@wheel.dcn.davis.ca.us         /





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 22:32:18 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: LEGOs.

At 04:43 PM 6/21/96 -0300, you wrote:
>>
>> I've received a postcard showing LEGO style bricks folded from paper, and
>> then assembled!
>>
>> Richard K.
>> (R.A.Kennedy@bham.ac.uk)
>>
>Anyone know where the diagrams are for these origami lego bricks?
>
Well it's not actually lego bricks, but a series of three or four building
block style units are diagrammed in Kenneway's "Complete Origami."  An
infinite number of possibilities exist from the shapes he diagrams (good
diagrams too!).

As a somewhat related sidenote I found the "Complete Origami" to be a
fascinating book primarily for its textual content as opposed to its
diagrams.  A wide variety of folding environments are discussed and there
are interesting applications of Origami techniques (including diapers!).  At
first I was a little disappointed since I was primarily looking for a bunch
of new models to work on, but now I'm glad to have the book - it's been very
enjoyable reading.

***Unsolicited but sincere rave follows - if offended, read no further***

The "Complete Origami" book was one of several books and lots of paper I
ordered (for the first time) from *Fascinating Folds*.  I'm very impressed
with how fast I received my order, the quality (and quantity per packet) of
the paper delivered, the reasonable prices, and how easy it was to pick
everything out on-line (http://www.csz.com/paper/index.html).

I admit I was a little leary of trying out on-line purchasing, but it's been
great (I've already sent off another order).  Good job Bren and Matt!!

Cheers,

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 22:43:18 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Other Pursuits and Embossing

At 06:15 PM 6/21/96 -0300, you wrote:
>
..
>    EMBOSSING and DECORATING ORIGAMI
>
..
>
>    I've experimented with creating paper designs on the computer and xerox
>    machines with a lot of success.  It was suggested that this might be
>    useful with embossing, but it sounds like embossing requires special
>    slow drying (?) ink which is the opposite of what printers and xerox
>    machines have.  Will pursue this in the embossing class and post any
>    ideas/answers.
>
I have an alternative which may prevent the finished model from being
corrupted by the raised portions of paper resulting from traditional
embossing.  Some of these steps may not be familiar and if anyone's
interested I can elaborate:

Step 1:  Develop the graphic using the PC or Mac tool of your choice.  Corel
draw or other advanced graphic production programs usually offer tips or
even font sets that do this.  If you're really hard up there are ways to do
it with Power Point, Harvard Graphics and / or some Word Processing
packages.  Once the graphic has been developed you must be able to print it
on the paper you will be folding.

Step 2:  Most stationery stores carry embossing foil.  This is especially
made foil that uses a standard laser printer to imprint the foil directly
onto your graphic, basically reproducing your graphic in the foil color.

Of course there are obstacles.  The paper you want to use may be too small
to go through the paper feed on your laser printer.  You may not have a
laser printer (the foil only works with laser printers).  Your graphic may
be too hard to reproduce.  But for some projects you may be very pleased
with the results.

Just my .02 cents!

Cheers,

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 22:48:19 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Fwd: Selling my own model.

At 07:42 PM 6/21/96 -0300, you wrote:
>Steve writes:
><<that still does not give you grounds for action against someone who
>redraws the diagrams -- only against individuals who fold your
>model>>
>
>Sorry, folks, copyrighting the MODEL does NOTHING to prevent
>anyone from doing ANY of the following:
>
..etc., etc., etc.,

Valerie's posting reminds me of something I learned at a copyright seminar
many years ago, "An Idea cannot be copyrighted, only the execution of the idea."

Cheers,

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 23:09:07 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Other Pursuits

Before I got serious about Origami, I was a hooker.  Don't laugh!  I taught
rug hooking and braiding of rugs for twenty years and developed a very
interesting way of braiding the rugs.  My husband was in the blanket business
and I had material to sell that was 100 feet long.  I taught rugmaking for 20
years before I got more interested in Origami than in Rugmaking and took over
Florence Tempkos Woman's Club lectures in N. J. when she moved.  I was
featured in the Coloroto section of the New York Sunday News all about my
rugmaking hobby.  This was 36 years ago!  I have found that many Origamiists
are multi faceted and interested in many other things.  They have very agile
minds and very good eye, hand, and mind coordination.  & open, creative
minds, eager to learn.  Do you agree.  I love people who are intersted in
Origami and call them VIP's (very interesting people).  My life has certainly
been enriched by my Origami friends and Origami experiences.    Other
pursuits is an interesting thread to pursue. Dorigami





Return-path: <origami-l@nstn.ca>
Date: Fri, 21 Jun 1996 23:10:56 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: patience for handiwork

Regarding patience for doing origami or any other kind of handiwork and how
they are related to each other.  I think all of these are related in that it
is a matter of knowing how to follow directions on any given subject and
having learned to teach yourself how to do things and not wait to be taught.
 This brings to mind something Robert Harbin told me when I met him in London
about 20 years or so ago and spent a couple of hours folding with  him .  I
asked him why his show had not been shown in the U.S and only on the BBC  He
told me that "the powers that be" felt that at that time American children
couldn't follow directions well enough to follow his show.  I spoke to many
U.S.  educators at that  time who agreed with him.  There is a trick to
following directions that some people just learn automatically and others
have a very hard time with and that is why I think they rarely try anything
new which requires this skill.  One of the tricks I use is to write
everything out line by line instead of trying to following in a paragraph.  I
also use a highlighter as I finish each step.  Sometimes I number steps.
 Also I just go as far as to when I am frustrated, put it down, take it up
again later, start from the beginning and try to get past the frustration
spot.  I do this as many times as necessary. Sometimes I may have to take a
basic skills course more than once to master the basics before I can move
ahead to follow instructions.  Also I try to think like the creator.
Another thing I do sometimes is enlarge the directions on the copier so that
they are easier to read.  It could take me a while but usually these methods
work for me.  I have tried and mastered several different kinds of handiwork,
crocheting, bread dough flowers, rugmaking (hooking and braiding), macrame,
and I can't even remember what else.  Perhaps most of these methods are
familiar to most of you but maybe you have some other ideas too on the
subject.  By the way, I have used the same methodology for following
instructions on anything new with insturctions which I want to learn or try.
 One other comment, I have spoken to educators in the past few years who say
that an important thrust in the school system today is learning to follow
directions as well as problem solving in general.  When I do an Origami
School program, I try to emphasize how much this skill will help  toward this
end and offer some suggestions as to how to do this  Hope I haven't bored
anyone.  Perhaps Racheal Katz as well as others will comment on this subject
also since she does so much teaching of Origami and is so good at it.
Dorigami





Return-path: <origami-l@nstn.ca>
Date: Sat, 22 Jun 1996 01:01:31 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Fwd: Selling my own model.

Valerie Vann writes:
>Steve writes:

[writing *ahem* about the copyright on the model itself]

><<that still does not give you grounds for action against someone who
>redraws the diagrams -- only against individuals who fold your
>model>>
>
>Sorry, folks, copyrighting the MODEL does NOTHING to prevent
>anyone from doing ANY of the following:
>
>1. "reverse engineering" the model, [...]

I did not claim that it did, please go back and re-read my post.

>2. Drawing their own diagrams after doing (1) above. In fact,
>whoever does this owns the copyright of the NEW diagrams,  [...]

This is correct, and I did not claim otherwise.  Please go back
and re-read my post.

>3. Making a zillion copies of your model from your copyrighted
>diagrams. Your copyright applies ONLY to YOUR DIAGRAMS, which
>are copyrightable as drawings ("works of art"), i.e the tangible
>expression of an idea, not the idea itself.

Irrelevant to the point I was making.  I was talking about the
copyright on the model itself, which Valerie returns to adddress
in her next item:

>4. You CAN copyright your models, that is EACH PHYSICAL real
>very thing, (in fact, its copyrighted in the USA as soon as
>you, or anyone else for that matter, "makes it" (i.e. brings
>it into physical existence as an individual "work of art").
>
>But the copyright applies ONLY to each specific physical
>model, so is in fact, of no practical value, except perhaps to
>prevent someone from selling that specific physical model as
>their own work. Those of us who do write the copyright on
>our models do it primarily as a part of our signature,
>and to date them, not out of any misapprehension that it will
>prevent someone from making one.

If someone makes an exact copy of your copyrighted model, they
have violated your copyright.  Just as surely as if I painted a
still life, and someone duplicated it, not necessarily with a
photograph, but with hours of careful brushwork.  Or if I had
sculpted a model out of clay, and someone else either took a
casting of it, or painstakingly made an exact duplicate.  All of
these things would be actionable as copyright violations.

Moreover, if I were to fold, say, a duck, and reserve all rights
on the model itself, and someone else folds the "same" duck in a
different pose, or out of a different kind of paper, I might well
be able to argue that the changes are not sufficiently different,
and that it is a "derivative work".  Copyright reserves the right
to produce deriviative works.  But if someone folds a different,
though very similar duck, or with a few changes makes my duck
into a goose, then I have no grounds for action at all.

>                                             [...]   If I
>wanted to make an exact copy of a Mercedes Benz, for my
>own entertainment, just by examining one, I could.

Let's try a real example.  If you wanted to make an exact
duplicate of a Calder mobile, just by examining one, could
you do so without violating Calder's copyright?  It's easy
enough to duplicate one, the plans would be very simple...

>Many origami designers & folders, on the other hand, would
>consider one or all of the actions on the list above to
>be bad manners, if performed without at least seeking
>the permission of the original model designer as a matter
>of courtesy.

I do not dispute this, I was only talking about the law, not
manners.  And of course, good manners are more important than
good laws.

  -- Steve

--
 "Your dog stuffs his tongue up your nose.   |  Steve Arlow, Yorick Software
  It's a good omen.  You press on."          |  39336 Polo Club Dr. #103,
     -- Bernie E. Mireault, in _The JAM..._  |  Farmington Hills, MI  48335
            (.sig contest has been won)      |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Sat, 22 Jun 1996 01:39:05 -0300 (ADT)
From: JPP <AB10TP3412.cin@desnews.com>
Subject: Hobbies

     Well, I'll add my $0.02 worth.     Origami is not at the top of my hobby
list (sorry).  I like building models (trains, planes, cars, ships), playing
basketball and table tennis and badminton, croquet, pool (billiards), and some
football.  Computers are one of my favorite hobbies, as I've learned how to
program in QBasic and HTML.  I can do just a tiny bit in C, as I'm still
learning that one.  I _love_ reading books (fiction and non-fiction).  I play
chess, checkers, and othello.  Crossword puzzles and word searches are fun, too!
 Of course, real life gets in the way, and most of my time is spent on the job
sites packing forms around!  :-)
     Have a hobby filled day!
John Pruess
utahjohn@aol.com
ab10tp3412.cin@desnews.com
http://users.aol.com/utahjohn/UtahJohn.html





Return-path: <origami-l@nstn.ca>
Date: Sat, 22 Jun 1996 15:00:31 -0300 (ADT)
From: Imagine104@aol.com
Subject: Aquiring the Klingon Bird of Prey/Searching for Dee Lynch

I've looked high and low, but I can't find Dee's original post on this. (I
tend to make hard copys of the ones that intrest me to save space on my hard
drive.) Her mail included her address and requested an "SASE". I'm very
tempted to make the same offer, but since it's not my work, and I don't know
her  personaly I'm not really comfortable with it.
Is there any one out there who knows how to contact Dee? If she doesn't mind
I can get copies of the diagrams to the people who are interested.
Have her write me at: BreylMark@aol.com
(I save Imagine104 for this list. Makes it easier to sort out the personal
mail.)
Maldon





Return-path: <origami-l@nstn.ca>
Date: Sat, 22 Jun 1996 18:06:59 -0300 (ADT)
From: Patrick Antouly <100332.1710@compuserve.com>
Subject: Re: tea bag origami

And me too please.

Patrick Antouly





Return-path: <origami-l@nstn.ca>
Date: Sat, 22 Jun 1996 22:30:58 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: Aquiring the Klingon Bird of Prey/Searching for Dee Lynch

At 10:01 AM -0800 on 6/22/96, Imagine104@aol.com wrote:

>
> I've looked high and low, but I can't find Dee's original post on this. (I
> tend to make hard copys of the ones that intrest me to save space on my hard
> drive.) Her mail included her address and requested an "SASE".
>

>From the magnificent search engine on Alex Bateman's Web Page, here is a
copy of Dee's original post...

>
> Date: Wed, 3 Apr 1996 22:32:37 -0400
> From: "BOB T. LYNCH"
> Subject: Re: RE: What is a flasher - not Brill!
>
> I have on question - I have Jeremy's diagrams for his flasher, but I
>can't get
> mine to close as tightly as the drawing seem to indicate that it SHOULD
>close -
> any suggestions?
>
> Dee
>
> PS I have diagrammed a klingon Bird of Prey designed by a guy in my group if
> anyone is interested, send me a SASE to Dee Lynch, 1350 E. Easter Ave.,
> Littleton, CO 80122 and let me know why you are sending me said SASE...
>
>  D
>

Hope this is provides the info you wanted...

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Charles Knuffke       "Amen the Thunderbolt in the Dark Void"
153 Divisadero                                  -Jack Kerouac
San Francisco CA 94104
mailto://knuffke@sirius.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 23 Jun 1996 01:28:46 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Re: For VERY serious washi fans....

The other day, Pat Slider wrote the following:

> Saw this title listed at Powell's. Not for me :->, but I thought I would
> pass it on in case someone else was interested....
>
> Washi the World of Japanese Paper by Hughes, Sukey
> Published by Kodansha America Inc (0870113186,19xx)
> Subject: CRAFT, Section: PAPER CRAFT
> In Stock: 1 at 120.00 (used,hardcover,Burnside)

I took the opportunity of being downtown to mail things for the OUSA
Convention Exhibit to pop over to Powell's and check this book out.
(Jenni, if you hadn't been working we could have made it a field trip!)
There are a handful of people on this list (and some that aren't) that I
thought would be interested in a full report, so here goes.

It's a beautiful book, around 300 pages, but only the inside covers are
washi (a nice light celery green).  Lots of color plates in the front, and
another long section of black-and-whites toward the back.  Many line
drawings throughout.  The book was published in 1978, and this particular
copy is a first edition.  The original price was covered with a sticker,
so I couldn't tell what it was. :-( It came with a plastic-covered dust
cover inside a printed cardboard holder, so it was fancy to begin with,
and is in *excellent* condition (even had the publisher's survey card
still tucked in!).

Interestingly, origami was mentioned only twice, first in the introduction
by Isamu Noguchi (paraphrasing the sentence: as a paper-related children's
past-time he fondly remembered), and second in the chapter subsection
called "The Sacred, the Magic, and the Mundane."  This was quite an
interesting section (the only one I read entirely), which made me think of
Kristine Tomlinson and John Smith and their posts on the history of paper
and paperfolding, and its use in various spiritual settings.

This book is really for papermakers.  It covers the history and methods of
making paper in Japan, uses of paper, and provides instructions for some
of the methods.  It has pages and pages with definitions and descriptions
of every kind of Japanese paper imaginable, how they were traditionally
made, whether they are currently manufactured and where -- it seemed to be
*very* thoroughly researched.  I thought Michael LaFosse might be
interested -- if there's someone out there who knows him, please pass that
along.

The author, Sukey Hughes, is American, but got into papermaking quite by
accident during the 4 years she lived in Japan.  According to the
introduction (or was it the liner notes?), her interest deepened as she
discovered that learning about washi was a way to better understand
Japanese culture and people.

Still interested?  It was there as of Friday afternoon at 5pm.

> Powell's phone numbers:
>
> Toll free (US & Canada): (800) 291-9676
> Voice: +1 503 228 0540 x482
> Facsimile: +1 503 228 1142

- Gretchen, still marveling (but not buying ;-)

--
gren@agora.rdrop.com         http://www.ogi.edu/~gren/





Return-path: <origami-l@nstn.ca>
Date: Sun, 23 Jun 1996 11:43:10 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Fwd: Selling my own model.

Disregarding for the moment that it is impossible to make
an "exact copy" of an origami sculpture, if making one by
referring to the original were a violation of copyright,
then making one from the diagrams would also be. As for
"copying a painting", it is done all the time, and used to
be a common exercise for art students. It isn't illegal
unless you try to pass it off/sell it as anything but a
copy, or use it in some commercial way.

Generally, anything you can make from directions is similar
to following a recipe or building a birdhouse or crocheting
a doily, distasteful as some origami folks may find the
comparison. However, the ultimate answer to that is that
many master origami models (the prototypes/originals) CAN'T
be duplicated: they are paper sculptures with subtle curves,
dependent of the particular matierials used, and a host of
other factors that render making an EXACT copy, even from
diagrams futile.

Anyway, I DID read the post; several times in fact, and the
point I took issue with was that copyrighting your **physical**
model gave you some legal standing against someone copying it,
either from diagrams (yours or their own) or by reverse
engineering (assuming they have the competence to do it, in
which case they're probably competent to design their own
stuff). If they were selling the copies as both designed and
MADE by you, you would have some standing, but it would
probably serve the same purpose a whole lot cheaper just to
blow the whistle on them to the origami community.

Ultimately, geometric/modular designers like me are far more
at risk of reverse engineers than Lang, Montroll, Brill,
et al., whose prototypes fall more into the catagory of
paper sculpture ("fine art"). What we do comes even more
into the category of "algorithm", mathematical formula, or
"process", all of which are not copyrightable. My best defense
(and one used by the origami box makers) is to use scarce, unique
or handmade materials, or design models that are sufficiently
difficult/time-consuming to construct that they are unlikely
to show up at craft fairs...  :-)

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 23 Jun 1996 17:45:32 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Other Pursuits

and speaking of bathroom folding (great
place)....................................me too and how many others?  Don't
all  answer at once......(couldn't resist) By the way, there is a great
 t-tissue paper rose diagrammed in one of the Convention books.  I think it's
folded like the ribbon rose with a lone strip folded in half the long way.





Return-path: <origami-l@nstn.ca>
Date: Sun, 23 Jun 1996 18:46:06 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: Re: LEGOs.

Richard,
   where can we get more info about the Lego style paper bricks?

Rona





Return-path: <origami-l@nstn.ca>
Date: Sun, 23 Jun 1996 20:01:08 -0300 (ADT)
From: unhinged@yrkpa.kias.com
Subject: David Mitchell

Is David Mitchell accessible via e-mail or mail?  I'd like to find out if
he has any plans to publish diagrams for some of his modulars.  I've seen
the one in Jackson's book and in a couple of others, and am dying to know
how they're made.  Unfortanately, I'm horrible when it comes to following
written text directions :( ..

Rob





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 07:33:55 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Enigma Cube (Jackson puzzles, contin)

If you've followed the discussions here of Enigma Cubes,
Shen Dishes, and Proteus Modulars - all origami designs
tantalizingly pictured in Paul Jackson's Encyclopedia(EoOaPT)
original edition by Running Press, leading to desperate
acts of reverse engineering by certain parties:

There was also a discussion of Tomoko Fuse's "Open Frame
Modular Units" (in her classic "Unit Origami").

Having been one of the guilty but successful reverse engineers
of all three (Shen, Enigma, Proteus), and invented some
geometric equivalents, and been through Fuse's Unit Origami
'till it's falling apart, suddenly a spark leapt from one
aging brain cell to another :-) and made an interesting
connection:

If you make 24 of Fuse's Open Frame Units (thin Japanese
foil is best), you can make an ENIGMA CUBE without the
cube, i.e., just the curved "frame" around the cube. It's
a little nasty to assemble, but no worse than the original,
and very intriguing looking.

If you're a real glutton for frustration, you could make a
stellated whatchamacallit (6 square pyramid points, 8 triangular
pyramid points), and then wrap the Enigma Cube Sans Cube around
it so the stellation points came out through the holes where
the cube ain't. (The CUBE SANS CUBE in red foil will show up
on one of my web pages eventually.)

I haven't actually tried this last permutation as I do have
to sleep and work and feed the livestock once in a while...

--valerie
Valerie Vann
75070.304@compuserve.com
http://users.aol.com/valerivann/index.html
http://ourworld.compuserve.com/homepages/valerie_vann





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 07:38:22 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: WWW sites about paper....

Here are some finds from some weekend netsurfing -- I've bookmarked the
first two URLs to return to someday myself.

A GREAT site on marbalized paper:

http://www.southwind.net/~rjones/marble.html

The person behind this site, Russ Jones, says that he is willing to
negotiate trades for his paper by the way :->....

The Prairie Paper Project (extensive papermaking instructions):

http://www.cs.uiowa.edu/~jones/prairiepaper.html

Hsin Hsin's paper site:

http://www.ncb.gov.sg/lhh/workshop/paper.html

And an extensive list of links by and for those in the paper and pulp
industry....Some links, i.e. info on trade shows or searching for a
particular product, is only available if you register (which is free).
Really, this site is probably just for you, Bren :->....

http://www.pulpandpaper.net/ppn.acgi$jumplist

(I bought some embossing pens and powder, but I haven't managed to try it
yet....Perhaps that is what I should do instead of sitting in front of this
noisy machine.)

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 07:42:03 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: What's the best paper?

        I'd be interested in hearing from folders everywhere as to their
paper preferences.  I've had a lot more success producing complex models
when I start with large paper, (10", preferably 12").  The downside is that
this larger paper is too thin and *very* unforgiving.  Many of Montroll's
models (my current addiction) include the instruction "pull some paper out,"
yet the thinner paper usually tears when I try to do this.
        The paper I've found with fibre content (stronger and more
responsive to pulling and twisting without tearing) usually has a pattern,
which would be inappropriate for say, Brill's dragon or other animal models.
        At any rate, I would be grateful for your opinions.  Many thanks in
advance.

Cheers,

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 08:39:03 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: What's the best paper?

>        I'd be interested in hearing from folders everywhere as to their
>paper preferences.  I've had a lot more success producing complex models
>when I start with large paper, (10", preferably 12").  The downside is that
>this larger paper is too thin and *very* unforgiving.

        Well...I used to be of the mind that the models I created could --
and often would -- be made with tissue foil, which is rather tough stuff,
although it can be difficult to work with.  With that, I created several
models that, when I tried to fold them from origami paper, basically
exploded from thickness.  So instead, I have tried to alter my creating
technique so that now I use exclusively just plain ol' 9.75" pre-packaged
origami paper when I create.  This will guarantee that the model is easy to
recreate by anyone picking up any future book I may write.  This is
because, despite all the hype I often see in the "advanced" origami world
about wet-folding and other techniques of making softer, harder, more
sculptable models, I think that basically, most people doing origami, and
quite probably most people first being introduced to origami, are using
plain ol' origami paper.  When I make display-quality models, though, I
often will resort to tissue foil (I still can't seem to get the hang of
wet-folding, or what paper to use), mostly because I can customize colors
and sizes.

        Hope that helps!

Jerry D. Harris                       (214) 768-2750
Dept. of Geological Sciences          FAX:  (214) 768-2701
Southern Methodist University         jdharris@post.smu.edu
Box 750395                            (CompuServe:  73132,3372)
Dallas  TX  75275-0395

"This was my first word of the discovery, and it told of the identification
of early shells, bones of ganoids and placoderms, remnants of
labyrinthodonts and thecodonts, great mosasaur skull fragments, dinosaur
vertebrae and armor plates, pterodactyl teeth and wing bones, Archaeopteryx
debris, Miocene sharks' teeth, primitive bird skulls, and other bones of
archaic mammals such as paleotheres, Xiphodons, Eohippi, Oreodons, and
titanotheres...the hallowed stratum had lain in its present, dried, dead,
and inaccessible state for at least thirty million years."
          -- H.P. Lovecraft, _At the Mountains of Madness_ (1931)





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 11:33:43 -0300 (ADT)
From: Bob Roos <roos@grendel.csc.smith.edu>
Subject: "Ryu" animation

I am cleaning out my CD-ROMs and came across the Fall '93 Macintosh Promo CD
(I picked it up at a computer show a while back). It has a small
collection of Quicktime video clips, and one, "Ryu", is an animation in
which a piece of paper, after being "zapped" by a mysterious glass globe,
folds itself in to a flying dragon, which does a few turns around the room
before someone comes in, at which time it unfolds back into a sheet of
paper with a picture of a dragon on it. At the end, it gets "zapped"
again and the folded dragon appears inside the glass ball.

Credits say (c) 1993 Sheridan College, Oakville, Canada (no province listed).
It was apparently the work of a student named Andrew Grant, and the
origami assistance was provided by Larry deSouza (I hope I got that
right, the movie was in a small frame and it was a bit hard to make out
the credits).

When you quit the application provided on the CD, it says that all these
videos are available on the "Cyberia-UNetwork" at "campuses nationwide".
I've never heard of Grant, deSouza, or Cyberia.

I'm packing up for a move, so pleas from people for more info will be met
with silence, at least for a long while. Here's all I can glean from the
CD package:

"Fall '93 Macintosh Promo CD"
 (c) 1993 Apple Computer, Inc.

The animation is 1:50 in length. It says that the QuickTime movies "are
designed to run exclusively on the AppleCD 300 or 300i CD-ROM drive."

Anyway, anyone able to provide more info, background, etc.?

Bob Roos

roos@cs.smith.edu (until June 25)
rroos@alleg.edu (after June 28--maybe several days until I get set back
up again)

http://cs.smith.edu/~roos   [Check out the "snail mail" fold}





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 15:14:12 -0300 (ADT)
From: jfryer@lib.ursinus.edu
Subject: origami for the elderly

Recently Patricia Gallo, from Argentina, said she enjoys teaching origami
at homes for the elderly and the residents enjoy it too.  That is something
I have considered doing, but I was afraid the residents would become
frustrated because of failing eyesight or use of their hands.

Thanks to this list I have become aware of more "user friendly" origami for
children than the traditional cranes, etc., but I had not transferred that
idea to the elderly.  Thank you, Patricia, for showing me it is possible.

=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=

                               Judith E. Fryer
                     Reference Librarian, Myrin Library
           Ursinus College, Box 1000   Collegeville PA  19426-1000
             (610) 409-3000 ext. 2302      jfryer@lib.ursinus.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 15:31:25 -0300 (ADT)
From: Dexteron2@aol.com
Subject: Re: What's the best paper?

In a message dated 96-06-24 08:09:38 EDT, you write:

<< I have tried to alter my creating
 technique so that now I use exclusively just plain ol' 9.75" pre-packaged
 origami paper when I create. >>

Where do you get paper of this size?

-Hammer Down-





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 15:32:38 -0300 (ADT)
From: Dexteron2@aol.com
Subject: Re: What's the best paper?

The best paper I've been ably to purchase is a package titled, "Large Origami
Paper," appropriately.  It has 2 pieces each of twelve colors, and the paper
is 9" by 9".  Unfortunately, I've been unable to find anything larger, so I
find the best results come from a sturdy, plain colored wrapping paper.





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 16:25:12 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: LEGOs.

>
>
> Richard,
>    where can we get more info about the Lego style paper bricks?
>
> Rona
>

I looked out the postcard over the weekend (but left it at home). The card
was from Joan Homewood (BOS magazine editor). It appears to have been
printed in Germany (hence says something about Lego Steine). The creator's
name was something like Pasqaule d'Auria?

I'll bring the card in tomorrow. If I knew how I would try to scan it, and
make it widely available. But I don't...  sorry...

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 16:32:41 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: LEGOs.

> >I've received a postcard showing LEGO style bricks folded from paper, and
> >then assembled!

> Did it show how it was done?

No - but I guess that some reverse engineering expert might be able to figure
it out.

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 24 Jun 1996 16:36:51 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: origami for the elderly

Judith Fryer wrote:

   Recently Patricia Gallo, from Argentina, said she enjoys teaching origami
   at homes for the elderly and the residents enjoy it too.  That is something
   I have considered doing, but I was afraid the residents would become
   frustrated because of failing eyesight or use of their hands.

   Thanks to this list I have become aware of more "user friendly" origami for
   children than the traditional cranes, etc., but I had not transferred that
   idea to the elderly.  Thank you, Patricia, for showing me it is possible.

I recently taught a blind friend how to fold business card cubes.  It
was an interesting experience.  I closed my eyes while folding, to try
to understand what it was like for her, and figure out how she could
get the creases in the right places.  But when it came time to
assemble the pieces, I had to open my eyes, to see what she was doing
and tell her how to correct her mistakes.  But she got it all right,
and made a second cube without any help.

        -- Jeannine Mosely
