




Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 14:38:05 -0300 (ADT)
From: R Hudson <rhudson@roo.Netrax.Net>
Subject: RE: Postscript

Don't forget - to print output to a postscript file, many windows
programs require that you install a postscript printer driver (e.g. HP
laser III) in order to have the option available.  Then, print ot that
printer, and find the "print to file" option.

It won't print to postscript if you have a non-postscrip printer selected
as your printer in the osftware package.

On Mon, 15 Jul 1996, kevin !! wrote:

> Hello, all(!!)
>
>       Most programs _do_, in fact generate PostScript output; instead of
> printing to a printer, simply choose "Print to a file."  This will often
> present you with a PostScript file save options window.
>       As for printing these PostScript files...
>
>       Most operating systems, be they Mac, PC, or workstation, will have
> a printer utility which will upload (read "download") PostScript files.
> Someone recently wrote that they could not find one on the Mac, but it's
> there; it's called "LaserWriter Utility" and should be found in the "Apple
> Extras" folder on System 7.x.
>       Even niftier, many good word processors will allow you to load the
> file in as text, then let you change the "type" of the file to PostScript,
> which, when printed, will interpret the document as PostScript code
> instead of as text.
>       PostScript files created by a "Print to file" command on
> the Mac can even be opened up in Simple Text, provided the creator and
> file type are correct (I believe).
>
>       I also use Freehand to diagram.  I tried using Illustrator, but
> there doesn't seem to be a "create grid" or "snap to grid" function
> available.  Does anyone out there who uses Illustrator know how to do this
> easily?  The manual simple describes a method of laying down gridlines
> manually (hence the term "manual") and using snap to point.  But what it
> you want to switch between different grid accuracies?
>
> --Kevin





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 14:58:04 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Was: Re: Working in Freehand

    Hi,

    I also do diagramming on computer and prefer it to my old technical
    pens and rulers -- 'though I never thought I'd hear myself say that.
    The particular project I'm working on involves diagramming folding
    patterns and simple traditional models, but I believe the tool I use
    can handle more complex diagramming.

    The tool is Micrografx "Windows Draw! Value Pak".  I'm currently
    running an old Windows version on Windows 95 with no problems.  What I
    like about this package is its price: $49.99 -- so if you're put off by
    the price of a "powerful" graphics package, there's an alternative.
    (Of course, my copy is graciously provided by my employer -- Micrografx
    allows you to install a second copy on a home machine :-)  As a
    technical writer, I'm very picky about the tools I use at work to
    combine graphics and text.  I'd take this product over a "real"
    graphics program any day due to ease of use and low cost.

    There are two tasks I use Windows Draw for: creating the patterns you
    get when you unfold a model, and diagramming the steps to create the
    model.

    For the first task, I use the grid feature and size it to something
    easily divisible by whatever ratio the folding pattern uses (e.g., 2,
    3, 4, 8).  Page view and zoom features help here.  When done, by
    grouping the whole diagram, I can easily resize to fit an 8.5 x 11
    page.  One drawback -- in theory, you should be able to create say a
    quarter or one half of a repeated pattern, group it, copy it, rotate
    and paste it to create the remaining part(s).  Windows Draw fails a bit
    here -- it may look great online, but the printed version may not line
    up.  Other Micrografx drawing products have done this as well.  Could
    it be my printer (?). By the way, it's a vector program, but supports
    importing from/exporting to other formats.

    For the second task, I cut and paste repeated shapes whenever possible,
    but haven't done enough diagrams to create a library of shapes yet.
    For mountain and valley fold lines, there is a very servicable
    long-short-long dash line and a long dash line.  Resizing lines is
    simple once again by grouping.  I had to create my own wide arrow (the
    "squash here" symbol), but can now plug it in as needed.  Other types
    of arrows come with the package's graphics and clip art library.

    Fonts used are Helvetica or Arial, but I have access to all the fonts
    on my system from Windows Draw.  I'm not spending too much time on
    layout until I have more of the project done, and right now, it's on
    hold indefinitely :-}.  But it's easy enough to reassign a font.

    Finally, I save to TIFF format because it has proved to be the most
    reliable and works very well with Halcyon Software's DoDOT.  DoDOT's a
    screen capture program that has very reliable conversion, TIFF
    compression, and cropping tools.  Unfortunately, they have no plans to
    port to Windows 95, but so far, (knock on wood) it works.

    Kristine
    ktomlinson@trinzic.com
    Waltham, MA, USA





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 15:26:50 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: RE: Postscript

>        I also use Freehand to diagram.  I tried using Illustrator, but
>there doesn't seem to be a "create grid" or "snap to grid" function
>available.  Does anyone out there who uses Illustrator know how to do this
>easily?  The manual simple describes a method of laying down gridlines
>manually (hence the term "manual") and using snap to point.  But what it
>you want to switch between different grid accuracies?

        I always hated the "Snap to Grid" function in FreeHand.  I
inevitably end up wanting to place points in places the program doesn't
like, and it snaps them out of place.  That's why I created my own piece of
"graph" paper in the program, and use the rulers (at higher magnifications)
plus occasional fractional increments in the "Move" command to line
everything up precisely manually.  Once I made the grid (which was quite
simple using the "Duplicate" command), I simply locked it down with the
"Lock" command so it can't be moved or inadvertently deleted while I
diagram on top of it.  Then my grid is permanent until I choose to unlock
and delete it, and everything on the more surficial layers can be adjusted

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 15:27:03 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: Working in FreeHand

>One point about Freehand relevant to another current thread -- you can't
>save in PS format ... PDF, FH5 and TIF are the ones that come to mind.
>Anyone have a plugin for freehand that will allow me to save in PS, or a
>PDF to PS (or mebbe EPS to PS) converter for windows or DOS?

        I dunno about the newer versions, but in FreeHand 3.1, instead of
using the "Save" command, you use the "Export" command to place the file in
EPS format.  It doesn't do plain ol' PS, though.

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 15:33:28 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: Was: Re: Working in Freehand

>    For the second task, I cut and paste repeated shapes whenever possible,
>    but haven't done enough diagrams to create a library of shapes yet.

        This, of course, is the beauty of computer diagramming, as Robert
and John pointed out long ago:  on the computer, once you've drawn one
diagram, you can simply copy it, move the copy to a new location, and edit
it slightly to get the next step.  This is in opposition to the old (!)
"by-hand" method, where each step had to be redrawn from scratch.  This is
theoretically a time-saving device, although with some steps, it probably
takes longer on computer than it would by hand.  The only shapes I've put
into palettes are my arrows (and some line and fill styles); almost
everything else I do as I need them.

>    For mountain and valley fold lines, there is a very servicable
>    long-short-long dash line and a long dash line.  Resizing lines is
>    simple once again by grouping.

        Yes, Robert mentioned that, as well.  I never thought to group and
resize a line -- it's such an obvious solution!  I'm embarassed to mention
that it never even occurred to me...  ;-)

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 16:02:05 -0300 (ADT)
From: "BOB T. LYNCH" <blynch@du.edu>
Subject: Joseph Wu and the Sunday paper

Hi all -

I was reading the Sunday funnies yesterday and in the Rocky Mountain News they
have a kids column called www.4kids.org - they pick a subject and talk more
     about
it, and give web sites where the kids can learn more about it... then they can
answer the questions at 4kids and be a "detective" or something like that....
ANYWAY!!! the subject yesterday was paper, and of course what caught MY eye
were three diagrams for a mask (unfortunately diagrams 7, 8, and 9) and no
designer credits at all BUT there was a tagline that if the kids wanted to
learn more about origami to go to Joseph Wu's web page! (and they, of course,
listed the address... ) I just thought it was sort of cool and I thought I
would let you all know - there were some other paper sites listed, too.

Egyptian Papyrus http://odyssey.lib.duke.edu/papyrus/texts/world.html

American Museum of papermaking virtual tour http://www.ipst.edu/amp/amptour.html

Handmade Jewelry www.ozemail.com.au/~teasdale/paperjewellery.html

Kites www.aloha.net/~bigwind/20kidskites.html
Sled Kite www.ex.ac.uk/~jastaple/kites/projects/sled/sled.html

Advanced kite making moreinfo.com.au/aks/yatko.plan.html

recycling your own paper www.nbn.com/youcan/paper/paper.html

Remember, these have been selected for kids, and I haven't visited any of them
to know what they are really like -

Take care and congratulations to Joseph!

Dee





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 17:49:19 -0300 (ADT)
From: GDScott@aol.com
Subject: re: FreeHand

I generate my own manuals for workshops in fabric origami.  Here's a tip
which might be useful to some.

To maintain uniformity of the squares being drawn, I duplicate the former
sqaure. I literally build each drawing upon the former drawing, modifying  it
to demonstrate the next step.

I use the style box to maintain all line characteristics, modified or not,
line weight and type selections.

I archive thumbnails in Adobe Fetch so I can find specific drawings when I
need to assemble workshop manual.

These few steps help me whip through 6-8 simple drawings per page  an hour.
Hopes this helps some.

Glenda Scott
http://www.owt.com/gdscott/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 19:52:13 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: RE: Postscript

Jerry Harris sez,

> I always hated the "Snap to Grid" function in FreeHand.  I
> inevitably end up wanting to place points in places the program
> doesn't like, and it snaps them out of place...

So turn it off when you don't want it. Command-semicolon toggles it on and
off -- it's also in the View menu.

I frequently toggle the snap-to-grid command on and off a couple times per
step as I draw different parts (for example, on to draw the paper shapes, off
to draw the arrows). I try to keep the proportions in integral multiples of
grid points as much as possible and then snap those points to the grid; for
example, the big right triangle in a kite base is close to the proportions
2:5, 3:7, 4:10, 5:12, and so forth.

I've also defined a bunch of QuickKeys for all of my origami styles ("Valley
Line", "Colored Side", etc.) and for several menu commands (e.g., "Send
backward") that I use a lot; this really speeds things up, so I heartily
recommend QuickKeys if you do a lot of diagramming.

Robert J. Lang
rjlang@aol.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 20:37:58 -0300 (ADT)
From: stiller@symmetry.xo.com
Subject: Towards more precise folding

I noticed that by lightly prescoring the initial diagonal valley fold
with an Exacto knife a thinner and straighter fold than I get from
hand folding arises. The advantage of this method over hand folding is
greater when compared against hand-folding simultaneously of many
layers of paper.  Using an exacto knife and straightedge has its own
set of problems, however, as it can be difficult both to align
correctly the ends of the straightedge and to use the right amount of
pressure so as not to cut through paper.

Thus, I was wondering whether mechanisms exist to facilitate the
prescoring of paper from a given folding map.

It seems like such a device would be a relatively simple thing to
build, since it is a comparable problem to that met in drafting,
except that the pressure of the drawing (or scoring) instrument must
be carefully controlled, and the precision required is typically
greater than would be required in drafting.

Unfortunately I personally have no knowledge even of drafting
solutions but in the case of origami all that is needed is to be able
to draw a line precisely between two accurately located planar
points. Some type of arrangement with a square platform on each of
whose sides is located a micrometer with provision for fixing the
micrometers at a given point, and a rule for drawing between them,
should work, right? For instance, a pair of micrometers could be used
to fix the location of a spike protruding above the paper, so that, to
crease between two points, one first marks with spikes the locations
of the points, then fits to the spikes a slotted straightedge, used to
guide the scoring blade. The blade and slot could easily be designed
so as to protrude only a fixed amount into the paper.  Such an
arrangement lends itself to automation too.

Note that it's presumably easiest to start with a larger sheet of
paper than that required by the final construction, and to pre-score a
containing square as the first step, in order to provide a convenient
anchoring mechanism. It is also probably easiest to act on each side
of the paper separately, as scoring corresponds to a valley fold.

Anyway, surely this problem has been addressed and solved by others;
does anyone know where I can get such a device or, if not, why it
would be infeasible or not too useful?





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 21:15:11 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: RE: Postscript

>Jerry Harris sez,
>
>> I always hated the "Snap to Grid" function in FreeHand.  I
>> inevitably end up wanting to place points in places the program
>> doesn't like, and it snaps them out of place...
>
>So turn it off when you don't want it. Command-semicolon toggles it on and
>off -- it's also in the View menu.

        It _is_ off!  8-)  I was just explaining why I don't use the feature.

>I've also defined a bunch of QuickKeys for all of my origami styles ("Valley
>Line", "Colored Side", etc.) and for several menu commands (e.g., "Send
>backward") that I use a lot; this really speeds things up, so I heartily
>recommend QuickKeys if you do a lot of diagramming.

        I agree.  I don't have the program myself, but I've managed to
learn how to tweak programs like FreeHand using ResEdit to assign some key
commands to functions I use a lot.  I wish that all programs had an "Assign
revolutionary the whole mouse thing was -- making "point and click" the
norm for PCs, and then people have learned to use the mouse less
frequently!  8-)

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 21:19:55 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Error in My FreeHand Techniques

        For those of you who are following this thread on diagramming in
FreeHand, I inadvertently mis-reported one of my techniques!  I mentioned
that I use a 1 point weight for border and fold lines -- I don't.  I use a
weight of 0.5.  Sorry for the inconvenience!

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

"Tyrannosaurs, though rarely seen, are certainly still around.
And no one knows just where or when the next one will be found."

                                  -- Calvin (aka Bill Watterson)
                                    .    .
                              .-_  /:\  /'\ .
                             /'''\/:::\/'''/:\
                         .---_'''/:::::\''/:::\----.
 .  .            .    .  \::: \''\:::::/''\:::/'__/_ .
 \\_\\_       /\/:\/\/:\/ \_:::\__\---/----\_/'/ :::/
  \ \\_\______\_\_/\/\_/\__\\_/    o  o  o  \_/::::/ ___ .
   \___\__________              o           o    \//''''/
                  \______     o                o   \''_/   _----_
                        \__  /     '            o  \/:\  / ....-/





Return-path: <origami-l@nstn.ca>
Date: Mon, 15 Jul 1996 22:38:10 -0300 (ADT)
From: "Na. (NAKANISHI Ken-ichi)" <nakanish@pd.scei.sony.co.jp>
Subject: Re: scanning in diagams (again)

In mail <960710164941_573871519@emout17.mail.aol.com>
    Rjlang@aol.com wrote:
> > The only way i will scan them in is if the designer, not the diagrammer,
> > agrees to have them put in digital form...
> > Chris Miller
> > origamicmm@aol.com
>
> If the diagrammer is not the designer, you'd better ask both.

Generally, anyone who will scan the diagram must ask the permission
of delivery to its diagrammer because the diagram is a creation
independent of the model diagrammed in it, as a book of DIY has
its copyright independent of chairs, tables, etc. instructed how
to make them in the book.

If the diagrammer hasn't engaged with the designer to have the
right of diagramming exclusively, another diagrammer can scan his
own drawings and deliver it to the world without the permission
of the primary diagrammer.

Diagramming requires unbelievably heavy labor.  Everybody must
note that the excellent diagram, which well instructs the complex
model to folders, is no doubt another excellent creation.

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





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 14:12:29 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Re: Why one thousand?  Why cranes?

Greetings -

I've been appreciated everything that everyone has posted in response to
Laurie's query, and have just a few things to add.

On Tue, 9 Jul 1996, Laurie & Bruce wrote:

> 2) Why a crane? (I know it is a symbol of peace)  Why not some other
> model?  I think a thousand frogs would be stunning.

In addition to the things have posted before (good wishes, good health/
get well, longevity, and peace), cranes are also a symbol of fidelity, as
all species mate for life.  Thus, 1000 origami cranes are often given as a
wedding gift, and/or crane designs are incorporated into wedding attire.

The frog, alas, is just not as richly symbolic.  It *does* have its place
in origami significance (encouraging people to return to restaurants,
right?), but frogs (and tortoises, as others have mentioned in conjunction
with longevity) just haven't captured the collective imagination enough to
become as all-around revered as cranes.  And while some kinds of frogs are
quite lovely, as an animal they just aren't going to surpass cranes for
beauty and grace.

> 3) What does it really mean?  I have always associated it with sadness
> and condolences.  Recently, I went into a restaurant and was startled to
> see strands of cranes hanging from the ceiling.  Also, I've heard people
> mention it in conjunction to weddings.  Has it become more a
> generic symbol of good luck?

See above (and others' posts) for the answer to the first question.  In
answer to the second, if you must generalize, I would interpret 1000
origami cranes to mean "good wishes" more than "good luck" ("I care about
you" vs. "Go get 'em!").  I hope it does not become any more "generic"
than that -- then we lose the potency of the symbolism.

Also, I would say that 1000 cranes usually are presented as an expression
of hope (for a healthy recovery, a long life, a constant marriage, or
world peace), not of sadness or condolence.  I've never heard of them
being given to a family mourning a death, for instance.  I have seen and
heard of several instances of an exchange of 1000 cranes between US and
Japanese sister cities or organizations, but that would seem to fit in the
"world peace" category.

> 5) How frequently is this done in Japan?  Is this something where
> growing up, all Japanese at one time or another contribute to a 1000
> crane project?

I can't say whether *all* Japanese do this or not, and don't know how
often it is done.  From the all the stories that people told me when I was
collecting cranes to send to the girl in Okinawa, one stands out that
speaks to the cultural importance of folding 1000 cranes:  A Japanese
exchange student, in the US for only a couple of months, spent the last
several weeks of her visit holed up in her room, refusing to go out or
spend time with her host family except at meals.  They did not understand
her behavior, and were quite disappointed in her non-participation.  Right
before she left, she presented 1000 cranes to her host mother, who had
been quite ill.  The young woman felt it was more important to spend her
time folding the cranes to wish a sick person well than to get to know the
people and country she had come to visit.

> When we visited a few grave sites by some temples in
> kyoto we didn't see any strands of cranes.

Um, I seem to recall that this may have something to do with whether it
was a Shinto or a Buddhist shrine.  Maybe Kristine can chime back in on
this one?  Also, are 1000 cranes ever put on individual gravesites, or are
they used more generally in memoriam (per Sadako's statue and other WWII
memorials)?

I would highly recommend that people who are interested in cranes check
out Sue Parker's web site:

        http://www.he.net/~sparker/1000.html

She has accumulated a fantastic list of cranes references, from the real
bird (she has information on the International Crane Foundation in
Baraboo, Wisconsin, the only place where all 15 species exist together) to
origami and textile forms -- it's a real smorgasbord site!  You are
guaranteed to learn a lot.

Also, I'd like to recommend a lovely little book I picked up on sale
($4.98) at Powell's last week:  _The Book of Cranes_ by Clare Cooley
(Pomegranate Books, ISBN 1-56640-078-3).  It is an accordian book with a
case, that has facts and multi-cultural legends about all the species of
cranes, accompanied by the author's artwork.  No references to origami,
but she does talk (briefly) about the crane's significance in Japan and
China.  I hadn't realized that cranes are potent symbols in so many
cultures, both contemporary and historical.

- Gretchen, with more to say than I figured (surprise!)

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





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 14:53:04 -0300 (ADT)
From: "Dr. Moze" <DrMoze@pressroom.com>
Subject: Enterprise diagrams reformat?

Hi! I appreciate the efforts made in making the Enterprise diagrams of
Mark Kirschenbaum available. However, would it be possible to make them
available in a more digestible format?

I don't get alt.binaries.pictures.origami on my newsserver, and the
files e-mailed to me were very large and caused my mail reader to choke
on them!  $^(  (But I do appreciate the effort!)

Then, I dl'd the files from the nl archives. These gif files are huge
when decompressed (over 2 MB) and I could barely handle that on my
computer. But, they are greyscale images (which is unnecessary for line
drawings!). The printer gacked when trying to print them! (OK, maybe not
a total gack, but waiting a half hour+ for each page is not an option.)
I tried reducing them to black-and-white images, but I'm still having
printing problems.

Could someone convert these diagrams to compact, black-and-white, clear
image files? (Postscript/jpg preferable!) Or have any further
suggestions? Yes, I may well go to snailmail (gastropostal methods) if
nothing else works.

Thanks again, and happy folding!

--
     Dr. Moze   <DrMoze@pressroom.com>





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 15:54:52 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Towards more precise folding

At 08:38 PM 7/15/96 -0300, you wrote:
>I noticed that by lightly prescoring the initial diagonal valley fold
>with an Exacto knife a thinner and straighter fold than I get from
>hand folding arises.

Have you tried using a folding tool to "iron in the crease" yet? The
traditional folding bone is available from OUSA or you can use the edge of
the ruler, or a credit card, or something similar. I myself like to use a 1"
round of jasper (hoping to find a jade round at the next rock and gem show).

Using an exacto knife and a ruler for a good crease sounds like it might
take all the fun out of folding! Must double the time it takes to create a
model.

If you are really wanting to score, you might try an embossing stylus. It
looks like a steel point with a very small ball on top. A small enough point
to apply intense pressure, but it won't cut. You could run it along your
ruler just like the exacto knife. These are available at craft shops and
rubber stamp supply stores. (I am finding this tool quite useful for deep
sinks and a few other tricky folds.)

>Anyway, surely this problem has been addressed and solved by others;
>does anyone know where I can get such a device or, if not, why it
>would be infeasible or not too useful?
>
Perhaps there is more information on cutting/scoring paper precisely in one
of those books about paper sculpture? Bren stocks some of these titles at
fascinating-folds.com. There's a book on paper sculpture by David Swinton (I
think?) that looks interesting.

pat slider.





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 16:55:34 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@leatherback.nist.gov>
Subject: Re: Enterprise diagrams reformat?

At 02:54 PM 7/16/96 -0300, Dr. Moze wrote:
>
>
>Could someone convert these diagrams to compact, black-and-white, clear
>image files? (Postscript/jpg preferable!) Or have any further
>suggestions? Yes, I may well go to snailmail (gastropostal methods) if
>nothing else works.
>
>Thanks again, and happy folding!
>
>--
>     Dr. Moze   <DrMoze@pressroom.com>
>
>
>

Using Lview Pro 1.b for windows I was able to reduce the color depth to b/w
using gamma correction - eg. ent1.gif 263939 bytes -> 53405 bytes (about 1/5
of original size).
I am willing to upload those 6 files (named entbw?.gif's) to nl archive site
only if Marc says "ok".

|--------------------------------------------------------------------\
|  _  Sy Chen <chens@iia.org or sychen@mailserver.nist.gov>          |\
| |_| Folding http://roger.ecn.purdue.edu/~sychen/origami/pprfld.htm --\





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 17:56:58 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@leatherback.nist.gov>
Subject: Re: Enterprise diagrams reformat?

At 04:57 PM 7/16/96 -0300, Sy wrote:
>I am willing to upload those 6 files (named entbw?.gif's) to nl archive site
>only if Marc says "ok".
>

I just uploaded Marc's diagram (with reduced color depth, b/w) to ftp.rug.nl
Let me know if the quality is worse than the original. It is about 275,205
bytes only for total of 6 files - entbw1.gif ~ entbw6.gif

Cheers!

|--------------------------------------------------------------------\
|  _  Sy Chen <chens@iia.org or sychen@mailserver.nist.gov>          |\
| |_| Folding http://roger.ecn.purdue.edu/~sychen/origami/pprfld.htm --\





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 20:19:56 -0300 (ADT)
From: Marcia Mau <marcia.mau@pressroom.com>
Subject: Another sighting of Joseph Wu's web pg

I visited the travelling Smithsonian 150th anniversary exhibit at the New
York Coliseum last Sunday.  Admission is free - tickets are available at the
door.  It's already been to Los Angeles and Kansas City - not sure what the
next stops will be.  Anne McCombs - do you know the schedule?

In the Intel exhibit, visitors have a chance to surf the net.  One of the
options was Joseph's web pg.

Other items in the travelling exhibit are Judy Garland's ruby shoes from the
Wizard of Oz, Lincoln's top hat, moon rocks and space capsules, Jacqueline
Kennedy's inaugural ball gown.  There's also an area to try 1-800-Collect
for a free domestic long distance call.  Bring your address book!

Tried to phone and visit the Frank Miele Gallery at 1262 Madison Av (upper
80's) to see the Golden Venture artwork.  Unfortunately it was closed on
Saturday.

The Metropolitan Museum has a great Toulouse Lautrec exhibit.  On sale in
the gift shop are notecards featuring various envelopes.

Marcia Mau
marcia.mau@pressroom.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 20:46:21 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: Towards more precise folding

>At 08:38 PM 7/15/96 -0300, you wrote:
>>I noticed that by lightly prescoring the initial diagonal valley fold
>>with an Exacto knife a thinner and straighter fold than I get from
>>hand folding arises.
>
>Have you tried using a folding tool to "iron in the crease" yet? The
>traditional folding bone is available from OUSA or you can use the edge of
>the ruler, or a credit card, or something similar. I myself like to use a 1"
>round of jasper (hoping to find a jade round at the next rock and gem show).

Among regular sewing supplies you can find tracing wheels, which are meant
to transfer the markings on sewing patterns to the fabric.  Most of these
have small little "spikes" around the wheel to impart a dotted line, but I
find that the (harder to find) smooth tracing wheels are perfect for
scoring.  These gadgets look like the hand-held rotary cutters, but smaller.
The wheel is dull so doesn't break the paper fibers, yet it is fine enough
for fairly precise lines.  I use mine guided with the edge of a quilter's
ruler (lexan square).  I'm sure that it would not work with all materials -
especially if you actually do need to slightly slit into the fibers - but
for a couple of bucks you can't go wrong!

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 21:29:28 -0300 (ADT)
From: R Hudson <rhudson@roo.Netrax.Net>
Subject: Apple and Omega Star Diagram Reuquests

Looks as though I've gotten in all the requests- I'll send out the
diagrams Wed. or Thurs.

Thanks for being patient, all!

-- Rob

rhudson@netrax.net





Return-path: <origami-l@nstn.ca>
Date: Tue, 16 Jul 1996 22:12:12 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: Apple and Omega Star Diagram Reuquests

Hey Rob is it too late to put me on your request list for the star?
                     Thanks,   Penney





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 14:34:47 -0300 (ADT)
From: robmon@mbox.vol.it (Roberto Monaco)
Subject: italian origamist

Hi! I'm Maria Rita from Salerno, Italy. I'm a new navigator so I'm
interested to get in touch whith italian origamists and I hope you can help
me, thank you.

Roberto Monaco
via G. Vacca 6
84100 Salerno (Italy)
tel. +39-89-711081





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 15:21:35 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Re: Postscript

Does anyone know if Stephen Weiss is online or will anyone be speaking
with him soon? He sent me a diagram for a "suction cup" & I want to use
it in the Sheffield Convention pack, but time is of the essence (isn't
it always?)

Any help would be appreciated.

all the best,

Nick Robinson
nick@homelink.demon.co.uk

                           ***  Origami Deutschland!   ***





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 15:26:13 -0300 (ADT)
From: Michael Adcock <adcock@Menudo.UH.EDU>
Subject: Tennis related models?

Hello all,

  I just wondered if anyone has come across a tennis related model in any
book or on the internet. I'd like to find a tennis racket model, but a
tennis player with racket would also do nicely... :)

Thanks for any info,

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: Wed, 17 Jul 1996 15:27:41 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Origami Web Pages -- WOW!!!

Hey Everyone -

Dee's and Marcia's posts about the publicity of Joseph Wu's web page have
inspired me to write about my experience this weekend.  We were having an
awful heatwave, and to beat the heat my sweetie and I went to hang out in
his air-conditioned office on Saturday afternoon.  He got brownie points
for being there to help with year-end close, and I got to take advantage
of his T-1 connection and do some major (fast!) netsurfing.  (And, of
course, we both got to stay cool. :-)

I visited *all* of the US origami websites, and a handful of pages from
other countries (I'll save the rest of those for another hot day).  Seeing
them all within about 3 hours was fantastic and a bit overwhelming -- we
are a *very* diverse group of folders!  I am really impressed with the
different styles of webpages, how well all sorts of folding preferences
and projects are represented, and just how *interesting* everyone is!  I
want to express my appreciation to everyone who has taken the time/risk/
energy to share themselves in this electronic forum.  There is a
tremendous amount of hard and beautiful work (both in the paperfolding and
the webpage-creating) out there.

I want especially to acknowledge those of you who maintain lists of
origami-related sites.  I know it's not easy to keep them up-to-date and
complete, and I appreciate the extra effort you have undertaken.

I hope that folks who have existing websites up will use the opportunity
of the potential additional traffic (due to the publicity) to take a
moment and see if their sites need updating.  And I want to encourage
anyone who has been *thinking* about getting a webpage together to do so
asap!  You'll be joining a wonderful crowd. :-)

Congratulations to us all!

- Gretchen, now enjoying the rainy cool weather

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





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 15:33:20 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Re: Why one thousand?  Why cranes?

    Hi,

    I enjoyed Gretchen Klotz's post, especially her real world stories of
    how people use cranes.  Much more interesting than pulling information
    of out books that may or may not reflect actual life :-}

    The more I try to trace historic models or ritual usage, the more it
    seems as though we may never have firm answers to questions about
    "why?"  In both China and Japan, historical traditions build upon one
    another. This is true in both both art (origami) and ritual and it
    confuses the picture.  If you start from an assumption that meanings
    and symbols may start in one place and end up somewhere else with 10
    other things, it helps!

    Not much to add, and all off the top of my head, but here goes. I hope
    I haven't misrepresented any Chinese or Japanese traditions and
    beliefs:

    [Memorial use of crane garlands]

    As Gretchen mentioned, WWII memorials are one place you will find
    cranes.  At the anniversary of the Nagasaki bombing, local school
    children make 40,000 (?) cranes and burn them in honor of the victims.
    In this case, the number of cranes represent people.  They also pour
    water over a memorial stone, because many of the victims called out for
    water.  Fire has an obvious symbolic reference to the bomb, but also
    has a historical meaning.

    Both China and Japan share religious traditions that view the soul as
    having two components -- an earthly one, and a heavenly one.  Burning
    transports earthly goods to the heavenly realm.  This seems to be
    Taoist, but may have been picked up by the Taoists from something
    earlier.  In turn, duality of the soul has been incorporated into
    Buddhism with the Buddhist emphasis on the soul masses (?).

    So in parts of China, paper models of goods and money are burned to
    take them into the spirit realm.  In Japan, people purchase shrine
    papers to enshrine local Shinto dieties in their homes for a year.  At
    the end of the year, the papers are burned or returned to the shrine
    for burning by priests.  The Chinese have a similar ritual associated
    with a picture of the kitchen god.  Many of what we consider Japanese
    traditions came from the Chinese calendar.  Since agriculture is
    important to both countries, it probably made a nice fit to earlier
    beliefs anyway.

    Aside: Another way to send "paper prayers" (as I call ritual origami)
    to the gods or spirits is to float them on a river.  The river
    eventually ends at the sea which is so very important to an island
    nation. I believe this is called obun odori.  Now *that* may be more
    appropriate for 1K frogs :-)

    [Alter gifts]

    David Lister, in one of his early articles mentions that 500? 1000?
    5000? crane garlands are hung as alter gifts.  I'm guessing this would
    make more sense in a Shinto shrine, although paper making was practiced
    in Buddhist temples, and a Buddhist priest published two early origami
    books.  David, any comments?  Perhaps these, like shrine papers are
    eventually burned as offerings?

    BTW, I didn't get one of the recent digests, but assume my post about
    cranes and Taoist immortals got through.  If not, I can repost.

    Kristine
    ktomlinson@trinzic.com
    Waltham, MA, USA





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 15:59:59 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Computer diagrams

"Jerry D. Harris" <jdharris@post.cis.smu.edu> sez

I use & recommend GSP designworks for the PC - dirt cheap at UKP35 &
does all I want - I prefer it to Corel Draw in most respects.

>once you've drawn one diagram, you can simply copy it

In my package, you drag a picture to the new location holding down
Control, & it's automatically copied - couldn't be easier!

all the best,

Nick Robinson
nick@homelink.demon.co.uk

                           ***  Origami Deutschland!   ***





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 16:22:31 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: Re: Why one thousand?  Why cranes?

Thanks for chiming in, Kristine!

Your post helped me remember *where* I had seen a reference to the Chinese
Taoist origins of crane symbology: the book to which I have been trained
by this list to turn first, Eric Kenneway's _Complete Origami_.  From page
155 therein:

        "Two of the oldest-known Japanese origami books have both dealt
        exclusively with one and the same subject -- how to fold the
        crane, a long-necked bird which was adopted as a Chinese Taoist
        symbol of long life and good fortune.  The crane symbol appears
        in many Japanese folk arts over the centuries, and folding
        paper cranes has been a popular activity there for at least two
        hundred years.  But since World War II, the crane has gained a
        special significance -- as a symbol of peace."

Kenneway continues with Sadako's story, and gives instructions for several
"thousand cranes" models (usually numbering somewhat less than 1000,
attached at wingtips or beaks).

- Gretchen

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





Return-path: <origami-l@nstn.ca>
Date: Wed, 17 Jul 1996 23:33:27 -0300 (ADT)
From: nienhuis@westworld.com (Bob Nienhuis)
Subject: Re: Computer diagrams

>"Jerry D. Harris" <jdharris@post.cis.smu.edu> sez
>
>I use & recommend GSP designworks for the PC - dirt cheap at UKP35 &
>does all I want - I prefer it to Corel Draw in most respects.
>
I have recently been trying a shareware program called Draft Choice. It
has a number of nifty features, including:
 Snap to nearest line or vertex,
 Forced orthogonals (makes lines parallel or perpendicular at 90 degrees)
 Betzier, spline and freehand curves.
 Copy, move scale, mirror, rubber, warp, etc.
 Native mode is vector, but can export bitmaps.
 Dos version works on everything from PC-XTs with Hercules graphics cards
 on up. Windows version also.
 Start or end points of lines can be input with mouse, or keyboard in
 absolute or relative screen coordinates etc.
 Dos version can export Postscript files, but native files are about a
 fifth of the size of Postscript.
 Line styles ( dashed, dotted, dot-dash etc.) can be changed to any orher
 or customized.
 CHEAP!
Anyway, I like it!

 Bob Nienhuis
 nienhuis@westworld.com
 (note ISP change)





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 00:09:39 -0300 (ADT)
From: CThackeray@aol.com
Subject: Re: Working in FreeHand

I use Illustrator for diagramming (personal use only). I know FreeHand, but
not well. Illustrator is much less mouse intensive and since I prefer hot
keys to mouse, I prefer Illustrator. Anyone else use AI?
Clare





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 02:37:32 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Joseph Wu's Origami Page has moved!

The new location is now working. The new URL is [http://www.datt.co.jp/Origami].
Everything is still the same as before, but new updates will be done
shortly. A Japanese translation is in the works, but will not be completed
for another few weeks, I think. New diagrams and some animation will also
be added, as well as some Java-based origami tutorials. This will all take
a while, however! The old site still works, but will not for long. A
pointer to the new site will remain for a while at the old site.

Oh, and please note my new e-mail address, too!

Joseph Wu                     | There are no ordinary people. You have never
origami@planet.datt.co.jp     | talked to a mere mortal. Nations, cultures,
                              | arts, civilisations--these are mortal....
Webmaster of the Origami Page | But it is immortals whom we joke with, work
http://www.datt.co.jp/Origami | with, marry, snub, and exploit....
                              | --C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 12:55:27 -0300 (ADT)
From: bob@maggie.pentek.com (Bob)
Subject: LIFE

Hi All,

I was speaking to someone at the OUSA convention and she mentioned a Long
Island (New York) origami group named LIFE.  Does anyone have contact info
on this group.

Thanks,
Bob
bob@pentek.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 13:50:24 -0300 (ADT)
From: contract@nyc.pipeline.com (Contractors Exchange)
Subject: Re: LIFE

On Jul 18, 1996 12:55:27, 'bob@maggie.pentek.com (Bob)' wrote:

>I was speaking to someone at the OUSA convention and she mentioned a Long
>Island (New York) origami group named LIFE.  Does anyone have contact info

>on this group.

Here you go:

Long Island Folding Enthusiasts (LIFE), Patricia Sisler (516)
        473-0550





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 15:37:31 -0300 (ADT)
From: Marcia Mau <marcia.mau@pressroom.com>
Subject: Banking and Origami

A friend of mine at FDIC just mentioned to me  that the late Michel Sidona
(sp?) was an Italian banker and paper folder.  He was one of the European
American Bank purchasers of Franklin National Bank in NY which closed in
1974.  Does anyone have any info on his origami life? Maybe someone in Italy
can help.

Are there any other banker folders besides Dave Brill & Circolo Ricrativo
Banca San Paolo in Torino?  I believe Jonathan Baxter has also worked w/
bankers in Charlotte, NC.  Last year I trained First Union Bank employees to
staff the origami booth at the International Children's Festival at Wolftrap.

Several years ago, I borrowed Wm E. King, Jr.'s 1960 Stonier Graduate School
of Banking thesis:  Display as Part of the Public Relations Program of a
Small Bank.  His work was included in Magic Inc.'s Folding Money plus Make
Money Selling Money! and Folding Money One.  I believe he is still with
Hagerstown Trust Co in Hagerstown, MD.  The description of his thesis from
the Stonier catalog for 1937-61, pg 32:  This thesis outlines the need of
banks in perfecting their public relations program and explains how display
can be an effective tool of this program.  Display need not necessarily be
extensive or costly.  There are suggestions on display procedure,
arrangements, and responsibility for the program.  Many sources and ideas
for display are enumerated.  A display program can be very effective in
creating good will, identifying and locating the bank, and providing a help
in selling services.  If the space is available, banks should take the time
to have a display program.  Display is too valuable to be ignored.

Marcia Mau
marcia.mau@pressroom.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 17:29:05 -0300 (ADT)
From: DLister891@aol.com
Subject: Dover Publications in London

The Dover Bookshop in the street off St. Martin's Lane in London (Very near
to Seven Dials) has been there for several years. I made a point of visiting
it because I thought it would be useful, but I was disappointed. True, the
shop secialised in Dover books, but they had nothing like a comprehensive
stock. I'm sure they would have ordered anything on the Dover list, but this
would be no different from andy other bookshop.

I understand that they are not direct connection with Dover Publications.The
proprietors of the shop presumably have a franchise to use the name of Dover,
but that is all. But let me not denigrate them. They may have just the book
you want.

What a valuable instiution Dover themselves are! I understand they are not
over-generous to their authors, but they keep their books in print for a long
time and they are of durable construction and made with good paper.I think
the first book I bought from them was the reprint of Murray and Rigney's "Fun
with Paperfolding" under the name of "Paper Folding for Beginners" (Why do
Dover change the names of books?) . That was in the early 1960s. It was
published in 1960 in the wake of the foundation of the Origami Center in
1958. Since then I have bought numerous books published by them in a very
wide range of subjects, both arts and sciences. And even, you may be
surprised to know, books about origami.

David Lister

Grimsby, England

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 17:36:28 -0300 (ADT)
From: DLister891@aol.com
Subject: A Thousand Cranes

.

In her note dated 17th July, Kristine Tomlinson suggests that I may be able
to give some more information about garlands of 1000 cranes. May I say how
much I value everything that has been written on this subject, by Kristine,
and by Gretchen Klotz? I can't add much to what has been said, but here are a
few ideas.

I do not recall myself having said that garlands of cranes are hung in
shrines and temples as altar gifts. This has never been my impression. They
are part of popular culture and not of religious culture. Admittedly the line
between the popular and the religious is very blurred, but still not very
blurred when it comes to cranes. As has been said several times, paper cranes
are given at times of celebration and happiness. They express hope and good
wishes for the future. From this they are sent to people who are ill, not as
an  act of commiseration, but as a hope; that they will get better - a sort
of "get-well" card. In this way Sadako's friend gave her a crane folded from
golden paper and encouraged her to fold her own cranes. She began by folding
cranes in the hope that they would bring good fortune and health to herself,
but it is said that she later continued folding for the benefit of other
children and older people who were afflicted by radiation disese.If this is
right (and we cannot be sure now just what Sadako did think) then there is
already a subtle change from folding in the hope of good fortune, to folding
as a prayer. The completion of the thousand cranes by Sadako's school friends
changed even further the meaning of the thousand cranes. It was now done
partially in memory of her and partially as a continuing prayer for victims
of nuclear radiation.

The garlands of cranes sent to Hiroshima were originally inspired by Sadako.
However, because of the association with Hiroshima and all Hiroshima means,
the prayer has extended from victims of radiation sickness to a prayer that
what they suffered will never happen again, in other words a prayer for
peace, and I am sure that today this is how many people understand the
Thousand Cranes.

This does not mean that the original symbolic meaning of the Crane has been
displaced, but it does mean that additional meanings havre been added. Even
in the West a thousand cranes are sometimes folded for someone who is
seriously ill, recent instances being for Alice Gray and Michael Shall. This
is consistent with the traditional meaning of the cranes as bringer of good
fortune, but is really depends on the attitude of the individual folders of
the cranes. Round the world, many schools latch on to the Sadako story and
send garlands of cranes to Hiroshima, partly in memory of her, but also as a
hope for peace. I doubt if the idea of good fortune and happiness is very
prominent here. In some ways it is a pity that the original simplicity of the
symbolism of the crane has been obscured. But such is the way with symbolism:
it is a living force among people, not a rigid inert convention.

During my visit to Japan, two years ago, I do not recall seeing a crane at a
shrine or temple. In fact I didn't see any decorative use of paper at
Buddhist temples. All I can recall at the temples is calligraphers, who spent
their time writing texts in exquisite characters on sheets of white  paper
for those who wished to  buy them.

Display of paper appeared to be confined to Shinto shrines, which were always
decorated  with white zig-zagged "O-shide". The zig-zagged shapes are also
attached to rods or staffs of various kinds to form what are best described
as kinds of amulets known as "Hara-gushi", "Tamagushi" and "Gohei". There are
said to be twenty ways of folding (or rather cutting and folding) the Gohei.
Oshide are also diplayed in private houses at the family shrine. There are
many other uses. For instance Sumo wrestlers wear them on ceremonial
occasions suspended fro their belts.

The Gohei  is an indication of the presence of the deity in the shrine. At
the same time it is a symbolic offering to the deity. They are made by the
Shinto priests who are well-versed in the meaning of the shapes.White is the
ideal colour for O-shide, but coloured ones are sometimes used.

However, O-shide and their related forms are certainly not cranes, and as I
have said, cranes do not appear to be diplayed in Shinto shrines.

I may have given the impression that paper shapes are never used in Buddhist
temples. Certainly paper is not much used in a decorative way very much, but
there are a few paper shapes used in Buddhism in Japan. It is thought that
they were originally derived from Shintoism. Nevertheless, although paper is
revered in Buddhism, it is employed chiefly as the medium on which to
inscribe sacred Buddhist texts.

As to paper grave goods, these belong more to Chinese than to Japanese
culture. In ancient times  actual possessions, often of great material value,
were buried with a person who had died.  Sometimes this extended to his
living wives and servants. It was an expensive process and soon substitute
effigies and clay models of real items of value were substituted. Paper
household goods and paper imitations of real paper money came later. This
again, as I understand it, is an aspect of popular culture, not of official
relgious culture.

I'm sorry if I have strayed far from the main highway of Origami.My excuse is
that all these matters involve paper and sometimes folded paper.

David Lister

Grimsby, England.

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 18 Jul 1996 18:47:20 -0300 (ADT)
From: Rjlang@aol.com
Subject: Postscript ACM Paper

To everyone who requested my 8-page ACM paper, I sent out the Postscript file
earlier this morning. If you didn't get it (or hadn't asked but would like
it), please contact me at "rlang@sdli.com" (not this address) and we'll try
to resolve it.

Robert J. Lang
