




Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 18:29:37 -0300 (ADT)
From: DLister891@aol.com
Subject: Origami fir the Connoisseur

With all this talk abour "Origami for the Connoisseur", I suppose people do
realise that tyhis book is merely the English translation of a Japanese book,
which carries the title, "Top Origami" in addition to its Japanese title.
Also, the names of the models and their creators are given in English, but
otherwise the book is wholly in Japanese.

 The Japanese original of the  book was published by Sanrio in 1985, with the
ISBN: 4 - 387 - 85096 - 5. The book has a hard cover and there are eight
pages of coloured photographs of completed models. The page size is slightly
larger than in the English version, but otherwise "Top Origami" is the same
in content as "Origami for the Connoisseur", which was published in English
two years later as a paperback..

"Top Origami " was the second of a series  of books in the same format, which
were published under the oversight of Kunihiko Kasahara. The others were
"Viva Origami", which introduced the work of Jun Maekawa;  "Origami, La Era
Nueya", which also featured the work of Jun Maekawa, and also included black
belt pieces in the technical folding style by other Japanese folders and also
by some folders from other countries; and "Origami, El Mundo Nuevo", which
has somewhat less complicated, but still interesting models, also by folders
from all over the world.

I understand that, much to the concern of Kunihiko Kasahara, there were
copyright problems with "La Era Nueya" and  with "El Mundo Nuevo", as a
result of which they had only imited runs. Consequently, they are not so well
known as the first two books in the series. If I am right in this, it is a
great pity, because all four books contain many splendid  and challenging
models. Al, in fact, are  Origami for the Connoisseur.

David Lister

Grimsby, England

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 19:14:57 -0300 (ADT)
From: "Ole A. Nielsen" <nielseno@knot.queensu.ca>
Subject: Double-star Flexicube

In response to Jonathan Poh's question re. David Brill's "Double-Star
Flexicube" in his new book Brillant Origami:

I too have tried to make this model and encountered the same difficulties as
you: I have always had to use glue to hold the three pieces together. Any
hints out there?

Janet Nielsen





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 19:28:00 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: Re: Montroll's Favorite Animals in Origami

On Aug 23, 1996 12:39:39, 'kevin !! <prank@leland.Stanford.EDU>' wrote:

>
>       I just bought a new Montroll book (ISBN 0-486-29136-7, copyright
>1996, and only $2.95 American) and have a few questions (uh oh).
>
>       On the back the book (more like a newsletter, actually) it states
>that "the projects include charming version of a cat, a deer, elephant,
>seal, walrus, mink, bear, and five other creatures" for a total of 12
>models(!!).  The problem is that there is no cat and no bear in my copy.
>There _are_, however, 12 models, just no cat and no bear.  I am thinking
>this is a misprint, as no pages seem to be missing, but I would
>like to verify.
>

No, it is not a misprint. I had asked John about that one too, when he
unveiled the book to me about a month ago. If I remember correctly, it was
a case where the cover notes were completed well before John had even set
out to create the models. I have to admit I was curious to see what the cat
would look like, but at less than $3.00 for the book, I would feel picky to
complain about anything.

Marc





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 19:44:31 -0300 (ADT)
From: JMontroll@aol.com
Subject: Re: Montroll's Favorite Animals in Origami

Kevin et al,

You noticed on the back of the book it mentioned animals not found in the
book. I do have to laugh at how things are done. I was asked to write a book
on intermediate mammals as a sequel to the bird book. Immediately after I was
asked to write the book I was asked to draw some of the models. Since I
hadn't even begun and had no idea what to include I just drew silly origami
figures of a few mammals-those were the ones mentioned on the back cover.
Hopefully it will be corrected in the next printing. Of course the title
chosen was a bit silly, too, I would have been happy with "Mammals in
Origami". But It wasn't my project so I don't worry about it.

Bye- John





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 20:09:23 -0300 (ADT)
From: Robyn Meyer <rmeyer@netadvantage.com.au>
Subject: A quick hello and a few questions...

Hi everyone.=20

this has to be quick cause I've gotta go...but I just wanted to say that =
I love this mailing list...I've only received it for a few weeks but =
I've always been interested in origami and this is really cool. A few =
questions:

1. Does anyone here know the best was to string cranes? I am trying to =
make 1000 cranes for the grandparents of a little girl who died of =
leukemia...I can't decide if I should hang them up or present them in a =
tall glass jar. They are only tiny (started with squares of about 1inch =
and a lot of lolly wrappers...) and when I tried hanging them once they =
all fell down together instead of staying seperated.

2. Can anyone think of a cool tee shirt design involving the net, =
origami and Australia and the US? I have lots of friends in the US from =
the net and would love to send them tee shirts for christmas (probably =
next christmas because I've left it too late!) showing something to do =
with the net, origami and all that sort of stuff...the only thing I can =
come up with is something like 'the net in closing in' and have some =
sort of net (like a butterfly net) but the strings are made up of email =
and http addresses and have a hand drawn paper crane near it...but I =
don't know how to incorporate australia and america into it!!! Any =
suggestions?

Well anyway I'm Robyn Meyer by the way and I live in adelaide, south =
australia and if anyone on here lives in adelaide could you please tell =
me of any good bookshops for orgiami books??? Thanks,

have fun everyone and sorry that this is so long,

Robyn Meyer





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 20:31:14 -0300 (ADT)
From: Jennifer Andre <JAndre@cfipro.com>
Subject: Hello, Robyn Meyer!

     Sorry, everyone, I have one of those deficient systems that doesn't
     tell me automatically who's sending!

     Please contact me privately for some crane-stringing suggestions!
     (Currently, some friends and I are limping through this, ourselves.)

     It's Friday here (Portland, Oregon, USA - Northwestern corner of the
     country), and I communicate from work, so please be patient until {my}
     Monday.  I hope you'll also forgive my ignorance of the actual
     time/date differences between here and anywhere in Australia!

     Continued Happy Folding, all who've bothered to read this far!

     Jennifer
     JAndre@cfipro.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 23 Aug 1996 21:08:29 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: A quick hello and a few questions...

>1. Does anyone here know the best was to string cranes? I am trying to =
>make 1000 cranes for the grandparents of a little girl who died of =
>leukemia...I can't decide if I should hang them up or present them in a =
>tall glass jar. They are only tiny (started with squares of about 1inch =
>and a lot of lolly wrappers...) and when I tried hanging them once they =
>all fell down together instead of staying seperated.

You might want to check the archives.  Gretchen Klotz spearheaded a 1000
cranes project last year and there were lots of ideas posted about stringing
them.  Also, Gretchen has Web pages about the cranes and origami and those
suggestions might be there.  Gretchen, can you chime in?  I don't have your
addresses handy.

>2. Can anyone think of a cool tee shirt design involving the net, =
>origami and Australia and the US? I have lots of friends in the US from =
>the net and would love to send them tee shirts for christmas (probably =
>next christmas because I've left it too late!) showing something to do =
>with the net, origami and all that sort of stuff...the only thing I can =
>come up with is something like 'the net in closing in' and have some =
>sort of net (like a butterfly net) but the strings are made up of email =
>and http addresses and have a hand drawn paper crane near it...but I =
>don't know how to incorporate australia and america into it!!! Any =
>suggestions?

How creative!  I love the idea.  You could always have as a background a map
of the Pacific rim area and get Australia and the US in that way.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 13:32:54 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: Toshikazu Kawasaki Rose

But, Joseph -- if the copyright of a portrait belong to the photographer, why
do you have to pay such big bucks to the stars and the estates of stars to
reproduce even famous portraits of these people? I would think if the
*photographer* held the entire copyright of a photo, the stars would have no
such say. For an example, Elvis Presley - I know you have to pay a big
licenseing fee to put ANY sort of likeness of Elvis on ANYTHING (the US Post
Office even had to pay the estate for the portrait on the stamp... it was $1,
but then the estate gets to charge big bucks for the rights to put that
picture of the STAMP on anything!)

I believe, too, that the actors in Star Trek have some rights to deny
merchandising that has their likeness/name on it. This is something they have
been fighting for for quite sometime... I believe they didn't like the fact
that Paramount, Playments, Galoob, et al were making money selling items that
had their likenesses on them, and they weren't getting anything from it! I
don't know how this would affect, say, the Hamilton plates which are
reproductions of paintings... probably a whole 'nother can of worms, eh?

Dee





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 13:42:15 -0300 (ADT)
From: chapbell@crocker.com (Philip Craig Chapman-Bell)
Subject: Immersed in inelegance

Dear All and Sundry,
        7-gons and 14-gons -- anyone have any good methods for inscribing
these on a square?  Everytime I make up a new method, the error factor
whacks me in the back of the head.
        Yours, <>Philip<>

<><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><><>
<> Philip Craig Chapman-Bell  <>  "Other acts may push the      <>
<> 86 Lyman Road  Apt. 4      <>   envelope: Ockham's Razor     <>
<> Northampton, MA 01060-4228 <>   licks it, stamps it, and     <>
<> chapbell@crocker.com       <>   seals it with a kiss."       <>
<>                            <>   -Chet Ezra, _Zylonite Crier_ <>





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:33:40 -0300 (ADT)
From: VVOrigami@aol.com
Subject: Re: Photo permissions [Was: Re: Toshikazu Kawasaki Rose]

Lisa H. wrote:
<< photo permission may extend to buildings...

This may be analogous to photos of an art work; though
how anyone could make this stick if the photos were of
the exterior of the building, which is a public place...
Except if you care about staying in the good graces of
the museum, of course... :-)

Most architects and many engineers copyright their
drawings, plans, models, photos, etc. explicitly. So do,
oddly enough, may PUBLIC agencies (cities, counties,
states), so that they can charge for copies of maps &
drawings. This raises a question of  re: the Freedom of
Information Act (USA), etc. but its usually easier and
cheaper in the long run to just pay up.

Last year we sent a large report from a publically funded
study by a government commission to the copy shop
(we needed a copy to submit to court, and didn't want to
lose the only one we had). The copy shop noted the copyright
(we had overlooked it) and refused to copy. The originating
commission, when queried, said, "Oh that doesn't mean anything,
we don't care if you copy it"!  We suggested that they put THAT
next to the "copyright" notice in future.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:35:58 -0300 (ADT)
From: VVOrigami@aol.com
Subject: Neale's Dragon, Ansill's Book

Ansill's book has been fairly widely "remaindered",
which means the remaining copies show up on sale tables, and
book shops that sell used books (and also often remainders).

Sweet Briar Books
654 G Street
Davis, CA 95616
916-750-BOOK

This used book shop had 6-7 copies of Ansill's Mythical Creatures
book a few weeks ago; they've had them for 2 months or so, so they
don't seem to be selling very fast.  They were sale priced, I don't
recall exactly, but about $6-7 US I think.

For the most of the other books/models recently discussed (Lang,
Montrol, Kawahata, etc.) try Facinating Folds Web site "store".

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:36:09 -0300 (ADT)
From: VVOrigami@aol.com
Subject: Re: Tessellating Models

Re: "tessellating models", tessellation techniques

The "rose at the ftp site" is a different technique
than Robinson's "fishy":

The technique used in the rose (ftp) is also - perhaps better-
known as "twist folding". It consists of a system of  sink-like
folds made repeatedly over a sheet of usually thin, sometimes
translucent paper (like tissue). It forms a repeating pattern, like
tiles (hence "tessellation"), and when held up to the light, other
patterns emerge from the different thicknesses of the layers of
paper. The Kawasaki Rose Crystallization (tessellation) in the ftp
archive happens to be a 3 dimensional example of this "twist
folding" type of "tessellation" technique. (There's a photo in
Jackson's Encyclopedia of Origami...; and also on of my
reverse engineered version, which is what's in the archive, on my
web site: http://user.aol.com/valerivann/index.html, along with
more complete diagrams than those in the ftp archive.)

The other "tessellating" technique is actually more like "tile patterns"
in appearance, eg. Robinson's Fishy: multiple origami modules, using
the effect of two-color folds, are assembled  or "tiled" together to make
an Escher-like pattern of fish or whatever.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:36:30 -0300 (ADT)
From: VVOrigami@aol.com
Subject: Re: WaterBombs/cat toys

The chewing gum wrapper modules (diagrams on my web site)
also make a good tight octahedron that makes a good cat toy
if you put a tightly wadded piece of paper inside to rattle around.

I decided against cat-nip too, as I didn't want the cats eating the
paper. The gum wrapper "mint" smell does seem to help to
intrigue the cats, but so far none have been inspired to eat the
paper. Usually they eventually get the thing torn apart and then
lose interest til you make them a new one.

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





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:36:42 -0300 (ADT)
From: fatboy <fatboy@main.aquanet.co.il>
Subject: Re: Montroll's Favorite Animals in Origami

Mr. Montroll,

First let me say it is a priviledge to write you personally, after
having spent so many pleasent years folding your creations. I have asked
this question recently (I am a newbie to this forum) but can't resist
acking you directly:

  In your Origami Sculptures, how do manage the molded look of the
animals?
  Also, can you recommend a good paper provider? Here ion Israel I have
given up on the paper available.

Thank you, and looking foward to any new books from you,

Shalom LeVine
fatboy@main.aquanet.co.il





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 14:49:03 -0300 (ADT)
From: mandrk@pb.net
Subject: Re: A quick hello and a few questions...

Robin,

In response to your question on stringing cranes, inserting a square
cut from a wide rubber band, between each crane allows you to space
them easily.

On your US/Australia idea, I received a post-card from a friend when
she visited Australia that had the map of Australia superimposed on
the map of the U.S. The effect was startling as the counties are of
almost equal size. Your message could go inside.

Rachel Katz
Origami - it's not just for squares!





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 15:47:19 -0300 (ADT)
From: John Josephs <105146.3673@compuserve.com>
Subject: stringing cranes for plaques

Rachel Katz said:
   In response to your question on stringing cranes,
   inserting a square cut from a wide rubber band, between
   each crane allows you to space them easily.

I'm sorry to be so dense but would you puhleeeeeeeeeeeeaze
explain that in greater detail for this dummy?  I am dying
to learn how to make these and have never seen anything
written in a book.

Thankyou so much!

                     Kerrie





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 16:42:17 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: stringing cranes for plaques

   Rachel Katz said:
      In response to your question on stringing cranes,
      inserting a square cut from a wide rubber band, between
      each crane allows you to space them easily.

   I'm sorry to be so dense but would you puhleeeeeeeeeeeeaze
   explain that in greater detail for this dummy?  I am dying
   to learn how to make these and have never seen anything
   written in a book.

   Thankyou so much!

                     Kerrie

Use a light string or heavy thread (buttonhole twist) with a yarn
needle.  Insert the needle through the hole in the bottom of the
crane's body and push it out through the center of the crane's back
(puncturing it).  Cut squares out of wide rubber bands and thread one
on the string in between each pair of cranes.  They're sticky and
won't slide easily, so you can use them space the cranes as you like.

I've never actually done this, but it seems to me that most rubber
bands rot out after a few years, so if you hope to keep your cranes
for a long time, you might want to consider a diffent spacing
technology.  Knots should work, but they have to be big and they're
not easy to move if you put them in the wrong place.  Here's something
else you might try.  Slip a bead onto the string and then loop the
thread through the bead a second time.  This will stay put well, but
loosening the string through the bead should let you fine tune its
position pretty easily.

Good luck.

        -- Jeannine Mosely





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 17:28:16 -0300 (ADT)
From: Douglas Zander <dzander@solaria.sol.net>
Subject: Re: stringing cranes for plaques

>
>
>
 <talking about a method to hold cranes in place on a long string>
 <rubber bands will rot and knots would have to be *large*>

 You could tie a knot above the crane but tie the knot around another
 piece of paper that is rolled-up into a cylinder or into a ball.

   |  <-- string
   o  <-- wad of paper with the string tied around it.
   |
  /|\  <-- crane's back with string through it
   o   <-- another wad of paper big enough so as not to go through hole
   |       in crane's back.  Wads of paper evenly spaced on string.
  /|\
   o
   |

 In order to space the wads of paper evenly along the string do this:
 Determine about how far apart you want the cranes to lie on the string
 and cut a cardboard to that distance (say 1 1/2 inch for example) and
 wrap your string around this cardboard.  Then when all the string is
 wrapped around the cardboard take a black magic marker (black ink pen)
 and blacken the string at the edges of the cardboard.  This is a fast
 and easy way to place black ink marks at every 1 1/2 inch interval on
 the string.  Then simply tie a wadded knot at every black interval as
 you place the cranes on the string.

--
 Douglas Zander          | editor of GAMES Player's Zine (GPZ)
 dzander@solaria.sol.net | a fanzine about GAMES Magazine (tm)





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 19:49:22 -0300 (ADT)
From: "David M. Phillips" <phillips@qxo.com>
Subject: Origami sighting

Origami sighted in the August 1996 issue of IMAGING MAGAZINE
page 35.  An ad for Highview ST, a document imaging, management
and workflow solution.  At the top it shows a (non-origami) box
with each side and flap a different color.  It has the headline,
"We spent years creating an imaging system that works perfectly
right out of the box."  Below that appear a simple bird, a
pinwheel, and a penguin.  Each of their facets bears a different
color.  Their headline is, "Yet people can't wait to change it."

The company placing the ad is Highland Technologies,
800-306-8266.
--
David M. Phillips 512-288-2887 phillips@qxo.com
QXO Corporation   512-288-1386 Fax
6316 Thomas Springs Rd Austin TX 78736-2321
http://www.onr.com/user/phillips/qxo.html





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 21:09:06 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: beckoning cat

Anyone know of a model for manekeneko (sp?), the beckoning cat found as a
symbol of welcome in many parts of Asia?  This is the sitting cat with one
paw raised in a very distinctive pose.  I've seen lots of the figurines, but
don't think I've ever seen an origami version -- seems kinda strange.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 21:19:23 -0300 (ADT)
From: Pam & Namir <pgraben@umich.edu>
Subject: Re: Waterbombs

Not really on the same subject, but my sister (also one of the Fold) had a high
     school
science project where she had to divise a method of preventing a raw egg from
     breaking
from a one-story drop (or two stroy, I can't remember).  She had limited
     supplies to work
with, but one of the supllies was like 10 sheets of notebook paper.  So she
     made like 6
waterbombs and surrounded the egg with them.  The contraption did survive a
     one-story,
and two story fall onto grass, but not a two-story onto the street.  Course by
     then it
was pretty beaten up.  The theory was thet the waterbombs would collapse and
     slow the
egg down.  Apparently it worked!
                   Sorry about the absense of details...

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

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

          pgraben@umich.edu





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 21:32:17 -0300 (ADT)
From: Wayne Ko <Herman_Ko@mindlink.bc.ca>
Subject: RE:  Favorite Animals in Origami

John Montroll wrote:

>Kevin et al,
>
>You noticed on the back of the book it mentioned animals not found in the
>book. I do have to laugh at how things are done. I was asked to write a book
>on intermediate mammals as a sequel to the bird book. Immediately after I was
>asked to write the book I was asked to draw some of the models. Since I
>hadn't even begun and had no idea what to include I just drew silly origami
>figures of a few mammals-those were the ones mentioned on the back cover.
>Hopefully it will be corrected in the next printing. Of course the title
>chosen was a bit silly, too, I would have been happy with "Mammals in
>Origami". But It wasn't my project so I don't worry about it.
>
>Bye- John

I finally got my copy the other day as I normally need to special order my
Origami books from my bookstore.  I went by the description and fully
expected to find the much anticipated but nonexistent cat.  Nevertheless, it
is still well worth the $5 Canadian.  I've got all of John Montroll's books,
but none have a cat in them.  Anyways, I'm hoping to get some support so
that John will include one in his next work.  I love all his animals, but am
extremely curious as to what the Montroll cat will look like.

Wayne





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 22:11:09 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: Toshikazu Kawasaki Rose

I would love to recieve the diagram for the Kawasaki Rose.  Thank you!
                           PenneyA@aol.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 24 Aug 1996 22:15:14 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: Kiwi model

I would like instructions for the Kiwi, since it doesn't look like a fruit
and I have never heard of it, it would be great for my collection of origami
diagrams from the internet.
  Thanks
                                  PenneyA@aol.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 12:25:18 -0300 (ADT)
From: fatboy <fatboy@main.aquanet.co.il>
Subject: Re: beckoning cat

Carol Hall wrote:
>
> Anyone know of a model for manekeneko (sp?), the beckoning cat found as a
> symbol of welcome in many parts of Asia?  This is the sitting cat with one
> paw raised in a very distinctive pose.  I've seen lots of the figurines, but
> don't think I've ever seen an origami version -- seems kinda strange.
>
> Carol Hall
> chall@scsn.net

Carol,

 I have never yet seen a successful cat design in origami. This includes
tabby-type or larger lion/tiger type cats. I would be very interested in
seeing a really good cat design of any kind; its a hole in my menagerie.

Shalom





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 12:55:39 -0300 (ADT)
From: MR P SLATER <P.Slater@swansea.ac.uk>
Subject: Re: beckoning cat / any cats.

For un-believably good cats, the big, long toothed types, have a look
into Dave Brill's "brilliant origami". An entire lion family with
purrrfect detail.

As for the beckoning cat, sorry no leads.

Paul.
EPSRC MS Centre.





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 13:22:12 -0300 (ADT)
From: Steve Matheson <pmagic@ionline.net>
Subject: Re: beckoning cat

----------
Shalom wrote:
>
>  I have never yet seen a successful cat design in origami. This includes
> tabby-type or larger lion/tiger type cats. I would be very interested in
> seeing a really good cat design of any kind; its a hole in my menagerie.

At the OUSA convention Hermann VanGoubergen from Belgium had the most
exquisite cat model I have ever seen (I'm afraid the paw wasn't raised but
I imagine it could be adapted). He hadn't diagrammed it yet (although he
did teach it to a few sleepy people in the wee hours of the morning :) It's
folded from a right angle triangle and has the elegance and economy of a
real masterpiece... I wouldn't be surprised if it turns up in the annual
collection for '97 or in Le Pli which publishes a lot of Herman's work. As
for lions, my hands down favourite has got to be Brill's in Brilliant
Origami (a must have). It is a superb model for wetfolding.
There is also a rather cute cat in an old Fuse (of all people) book(don't
know the title as it's in Japanese) which, while not entirely satisfying
has a certain charm (and makes nice pins).

steve matheson
Waterloo, Ontario
pmagic@ionline.net





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 13:32:10 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Can you help?

Hi all --

This isn't really origami related, but I thought I would mention it to you
anyway.

I would like to ask that you all be very careful to whom you give other
people's e-mail addresses to and where you might leave them lying around.

I have been getting some strange messages from someone at
"@suffolk.lib.ny.us" that have started getting a little bit strange. I
probably shouldn't have answered the first message this person sent, but I
assumed, perhaps incorrectly that he was on the list since he mentioned
seeing that I had changed my address... you all are about the ONLY people I
correspond with via e-mail. Anyway, he has refused to tell me exactly where
he got my address, and has told me that he was 30 divorced with two kids, AND
that he is 13 and looking for a friend... I don't know which is true, and at
this point, I don't care. He goes by the name of Brandon Becker. His last
message, since I had indicated I would not correspond with him until he told
me where he got my address and who he was, was filled with quite a bit of
ranting, a few foul expletives, a lot of capital letters and exclamation
marks. Needless to say, I will NOT be exchanging e-mail with him any longer.

If any of you know Brandon, tell him to knock it off, or I will look into
seeing what can be done about this...

I hate to be paranoid, but I have put some personal info on this list
(addresses, etc.) that perhaps I shouldn't have. My husband keeps pointing
out the scope and power of the net and that it would take just one looney
with a computer and some tenacity to track you down... I guess in this day
and age, I would rather be a little paranoid and alive, than totally trusting
and harassed, stalked or dead... sigh. I would hate to think that I can't
exchange information about myself with people I believe to be friends, even
though I will more than likely never meet many of you face to face.

So, anyway, please be careful to whom you give out e-mail addresses, or where
you might leave them on a piece of paper, or a screen...

Thanks!

Dee





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 13:42:13 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: beckoning cat

> I have never yet seen a successful cat design in origami. This includes
>tabby-type or larger lion/tiger type cats. I would be very interested in
>seeing a really good cat design of any kind; its a hole in my menagerie.

        I don't think it's been diagrammed, but Stephen Weiss has an
absolutely fabulous "Cat" design from a dollar bill -- it's my favorite
dollar bill fold (he sent one to me years ago and I reverse-engineered it).
I've not seen another origami cat that comes close to this one in realism:
it just captures a lot of the curvilinearity of cats very, very well.  The
way Stephen sent it to me, though, a lot of people mistook the bit of paper
protruding from the face (whiskers) and thought the model was a schnauzer.
8-(  So I tuck those points in, and voila! no more mistaking it!  From a
square, though, I agree that there are few passable models.  However, I've
been getting away with using Kawahata's "Bobcat" in Montroll's _North
American Animals..._ as a regular, domestic cat.  It's a very nice model; I
like the whiskers!

        As far as more simplistic cats go, I really like Martha Mitchen's
"Kitty Cat" (in the 1990 FOCA-cum-OUSA _Annual Collection_) -- I use it a
lot in earrings, and everyone loves it!  For big cats, I like Montroll's
"Lion" from _African Animals..._ and Dave Brill's "Lion" and, especially,
the lion cub from his _Brilliant Origami_.  I've yet to see a fabulous
"Tiger."  BTW, does anyone know a good origami "Sabre-toothed Cat?"
Something to work on, I guess...  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: Sun, 25 Aug 1996 13:43:05 -0300 (ADT)
From: vann@tredgar.cardiff.com (VAnn Cornelius)
Subject: Re: cat designs

>
>  I have never yet seen a successful cat design in origami. This includes
> tabby-type or larger lion/tiger type cats. I would be very interested in
> seeing a really good cat design of any kind; its a hole in my menagerie.

        Look for Herman von Goubergen's cat.  It is in his style of
        the 'Man-reading-a-newspaper', ie. subtle creases giving a
        clear sculpted image.

        V'Ann
        vann@cardiff.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 14:23:12 -0300 (ADT)
From: Kevin Thorne <c598033@showme.missouri.edu>
Subject: Re: folding for the first time

On Tue, 21 May 1996, BOB T. LYNCH wrote:

> Steve -
wX>
> and all - I don't know that I qualify as a "master" but I have been folding
     for
> about 25 years now, and I find the more I fold, the more practiced I become
> and the easier some things get... for instance, I can get edges lined up
     pretty
> welll - no overlap, and I can do a few simple things the first time without
> any problem, but, as yet, I have never done anything harder than intermediate
> level the first time without looking at it and then giving it to my kids to
     play
> with!
>
> Dee





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 14:49:39 -0300 (ADT)
From: DLister891@aol.com
Subject: Robert Harbin: "Origami: a Step-byStep Guide"

Brett Askinazi asks for confirmation that Patricia Crawford's Ship is in
Robert Harbin's book "Origami: a Step-byStep Guide".

I have this book in front of me and confirm that Pat Crawford's ship is
indeed in it under the name of "Full-rigged Ship".This model was a sensation
when it was first published.

"Origami: a Step-byStep Guide" is one of Harbin's most elusive books. It was
published in 1974 by The Hamlyn Publishing Group Ltd., in medium size, with
seventy nine pages. It cost only #1.25, about two dollars. Many of the models
are by Patricia Crawford, one of the most gifted creators of her era. It was
a sad day when she abandoned Origami for other pursuits. (Sculpture, I
believe, but I stand to be corrected)

As far as I know, the book did not remain in print for long and is now very
scarce.It is however, one of the most important of Harbin's books, if not the
most important and would be in my list of  paperfolding books essential for a
serious Origami library. No serious paperfolder should neglect to seize the
opportunty of obtaining a second-hand copy if ever she or he stumbles across
a copy in a second-hand shop or even on a rubbish tip. The temptation to
steal must be very great, but I don't encourage action quite so drastic as
that. But such is my view of the desirability of this book. The copyright now
belongs to the BOS, so perhaps they should try to get it reprinted.

Incidentally, there are now hopes that "Secrets of Origami" may be reprinted
in the not too distant future, so why not "Origami: a Step-byStep Guide" as
well?

David Lister

Grimsby, England

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 14:50:31 -0300 (ADT)
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: Can you help?

>
> Hi all --
>
> This isn't really origami related, but I thought I would mention it to you
> anyway.
>
> I would like to ask that you all be very careful to whom you give other
> people's e-mail addresses to and where you might leave them lying around.
>
> I have been getting some strange messages from someone at
> "@suffolk.lib.ny.us" that have started getting a little bit strange. I
>

What you state is correct. NEVER post personal info in ANY public forum.
Anyone on this list can probably send the proper message to the listserv to
receive a listing of all the subscribers to this list and most of their
email addresses.

That suffolk address above sounds like the address of a public library. Odds
are that someone may have addressed a message to you from a terminal there
and neglected to properly log off. Someone here may know to whom to write at
that library to let them know what has been happening from their terminal.

--
Sheldon Ackerman.......http://www.dorsai.org/~ackerman/
ackerman@dorsai.dorsai.org
sheldon.ackerman@nycps.nycenet.edu





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 15:06:33 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Can you help?

>I have been getting some strange messages from someone at
>"@suffolk.lib.ny.us" that have started getting a little bit strange.

Dee,

This is definitely scary. The recommended procedure to an incident like this
is to send a message to both postmaster@suffolk.lib.ny.us and/or
root@suffolk.lib.ny.us explaining the situation and sending copies of the
messages if you still have them. Most service providers will deal with the
offenders. No one wants people like this online. (I wonder if this is a city
library? Haven't seen .lib before....)

pat.





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 16:49:19 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: cat designs

>>  I have never yet seen a successful cat design in origami.

Agreed -- that is until this year's convention when I was _stunned_ at
Herman von Goubergen's cat.  I must have used almost a full roll of film on
that model alone.  And sigh, I didn't stay up late enough to learn it.

I have to disagree with Steve Matheson, though.  This cat cannot be adapted
to the beckoning cat.  There are two reasons for this:  first and foremost,
such exquisite masterpieces should not be mucked with -- they should be
enjoyed and marveled at.  And very secondarily, the pose is wrong.

For those of you who have not seen this cat, it is almost a relief sculpture
which truly captures the curvilinearity of felines.  It is not, however, a
three-dimensional, view-from-all-sides kind of model.

If any of you know or ever see Herman, could you camp on his doorstep until
the diagrams are done? :-)

As for the beckoning cat, if anyone ever sees such a model, please let me know!

Carol Hall
chall@scsn.net

Oh- and Martha Mitchem's cats are wonderful.  I especially like her Siamese
cat.  The problem is that they are two-dimensional, and, like most origami,
have to rely on angles to represent a decidedly non-angular lifeform!





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 19:59:00 -0300 (ADT)
From: Emily Hackbarth <emily@exo.com>
Subject: Re: Can you help?

> Hi all --

> I would like to ask that you all be very careful to whom you give
> other people's e-mail addresses to and where you might leave them
> lying around.

Aren't the messages to this list archived on the web? You might want
to request that any messages you posted that contain sensitive
information be removed from the archive. Otherwise that information
will be available to anyone who wants it and knows where to look for
it.
 Emily Hackbarth





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:06:14 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Enterprise

 To be really safe, you need to
>acknowledge that "Star Trek" is a trademark of Paramount studios,
>and disclaim that you are using their trademark for purpose of
>identification only.  That is perfectly legal.

Quite right!  That is what all the fan clubs do.  In fact, I was going to
suggest to Marc that he add this fine print to his design for the
Enterprise.  Just in case.  It is perfectly legal, and he should actually be
able to publish it, but that would have to be checked out properly.  I deal
with non-profit organizations so the rules are not the same.  However, Space
Busters, which I think is published by Scholastic, included plans for ships
from Star Wars and Battle Star Galactica without disclaimers, which I
thought was strange.

                                                    Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:07:29 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: cranes mailed to Hiroshima

Hi, Steve!

>"Cranes Over Hiroshima" is on Fred Small's cassette _No Limit_,
>from Rounder Records.  It was published in 1987, but I think I've
>seen this album re-released on Compact Disc fairly recently.  The
>address is:
>
>       Rounder Records
>       One Camp Street
>       Cambridge, MA  02140
>
>>Can it be sung with children, or is it too sentimental for kids?
>
>I really couldn't tell you; I suppose it would depend on the kids
>in question.  It's not a very happy story, after all.  The refrain
>of the song goes:
>
>        "Cranes over Hiroshima,
>         white and red and gold.
>         They flicker in the sunlight
>         like a million vanished souls.
>         I will fold these cranes of paper
>         to a thousand, one by one,
>         and I'll fly away when I'm done."
>
>I promised to relate the count given in this song, it's 644 --
>"'Til the morning her stumbling fingers can't fold anymore".  The
>song ends with a repeated chorus of the words that are apparantly
>inscribed at base of the monument:  "This is our cry / This is our
>prayer / Peace in the world".
>
>I saw Fred Small perform at The Ark in Ann Arbor several years
>ago.  I don't recall whether he did this song then, but I did
>later have the good fortune of seeing this song performed live
>by the flik group "Technical Difficulties", in "three part
>harmony, two parts audible."  The third part was sung/danced in
>Ameslan (American Sign Language) -- it was very powerful.
>
>  -- Steve
>

Thank you Steve.  It sounds beautiful.  I will look for it next time I'm in
Montreal.

                                    Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:08:40 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Welcome Shalom!

 By the way, when in a hurry. I once wet
>folded a gorilla and dried him in my microwave oven (with a cup of
>water for safety).
>
>
>
>Rachel Katz
>Origami - it's not just for squares!

How did the gorilla feel about this?????  I use a hair drier--more humane.

                                                                Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:09:44 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Availability of Diagrams

>
>I am very pleased when people like Marc Kirschenbaum and Maarten van Gelder
>make good models available at the Origami Archives and it is so much nicer
>to be able to send Cathy Palmer Lister a zip file of the Enterprise rather
>than refer her to a book which is out of print.

Yes, and I thank you!  Along the way, I had to learn how to download a
programme for reading zip files, and then how to use this programme.  I was
so thrilled to see these diagrams printing out!!!!!!  Almost as thrilled as
if I'd actually folded it!  Technology and I are not always on the best of
terms!

        I started on the Enterprise and promptly got stuck on step 12.  But
I won't give up!!  Next weekend is a long one--I will attack it again!

                            Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:10:40 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Copyrights, redux (was Re: Kawasaki's Rose)

>Right I always though well here in the UK that as long as you weren't making
>money from it, it was okay. to photocopy or scan work for friends,
>assignments, whatever.  Yes if I could contact these people I would but it's
>but it's not
>easy.  If anyone can help me find the people to ask about copyright then
>I will, sorry if I've offended anyone.
>
>Em*
>p.s. I'm 20 years old and from Wales - a few have got confused by someone
>else's bad cutting & pasting of emails!

Hi, Emma!

        It isn't so much a question of whether or not you are making money
from it, but whether or not somebody is being cheated of income.  If I tape
a friend's album, for instance, money is not changing hands but I am not
buying a copy of the album so the artist is not getting paid his due.  If a
book is truly unavilable, I don't think there should be a problem, but
obviously not everybody on this list agrees.  I shall be very frustrated
indeed if I never get to have the plans for the dragon I covet.  I put in an
order for Jay Ansill's book, but they told me not to hold my breath.

                                            Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:11:37 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Enterprise's on the wall

>Well -- not to brag or anything, but I HAVE done an "Enterprise on the Wall"
>type display... (For those of you not familiar with Star Trek The Next
>Generation, Captain Picard's Ready Room has a display of all the ships named
>Enterprise. There is a sailing ship, an aircraft carrier, the space shuttle,
>and of course, all the starships with registry number 1701...!) I had the
>display at a convention that my husband and and I help to run, then used them
>for my contribution to someone's Christmas Tree that year!

WOW!!!!!Where is this convention?  Surely, I must have heard of it.  Do you
have photographs of this display?  It must have been a show stopper!!

    Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:12:30 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: R. Neale's  Dragon (was:Re: Hello!)

>
>Issue #55 (Dec '94/Jan'95) of Dirty Linen  magazine (dedicated to folk,
>traditional, and world music - a wonderfully quirky 'zine!), interview
>pages 15-18, diagrams page  19. Small layout and hard to read, yes, but
>workable for the already diagram-knowledgable. Otherwise, pretty tricky
>(see the cartoon bottom of page 4)! Back issues available at cover price,
>$3.50 US, $5.00 Canadian, 10,000  rutabagas Moosylvanian. Shippinng $1.50
>if one item. Contact them at
>
>P.O. Box 66600
>Baltimore, MD 21239-6600
>phone (410)583-7973
>email 74020.47@compuserve.com
>
>Worth the price just for the candid shot of Jay at age 9, folding in the
>bathroom (the only place where lights could stay on at night), sitting on
>the necessary... :)
>
>A last thought - there is also an address there for getting the CDs or
>books (Mythical Beings and LIfestyle Origami) directly from Jay, that
>might be worth a try.
>
>Debussy Fields Music
>c/o Jay Ansill
>P.O.Box 35
>New Hope, PA 18938
>
>Hope this helps someone!
>
>Anita
>Havre de Grace, Maryland

Thanks, Anita.  I copied the address, just in case.  I did try ordering the
book, I am keeping my fingers crossed.

                                                        Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:13:21 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: A quick hello and a few questions...

>
>1. Does anyone here know the best was to string cranes? I am trying to =
>make 1000 cranes for the grandparents of a little girl who died of =
>leukemia...I can't decide if I should hang them up or present them in a =
>tall glass jar. They are only tiny (started with squares of about 1inch =
>and a lot of lolly wrappers...) and when I tried hanging them once they =
>all fell down together instead of staying seperated.
>

Since they are so small, I would put them in a tall glass.  It would look
pretty, and the little cranes wouldn't be collecting dust and getting
scrappy-looking.

                                    Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:14:14 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Neale's Dragon, Ansill's Book

>Ansill's book has been fairly widely "remaindered",
>which means the remaining copies show up on sale tables, and
>book shops that sell used books (and also often remainders).
>
>

Thanks, you give me hope!

                                                                Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 25 Aug 1996 23:22:05 -0300 (ADT)
From: Marcia Mau <marcia.mau@pressroom.com>
Subject: 1866 Painting

I visited The New York Times exhibit at the Pierpont Morgan Library in New
York yesterday.  In one of the exhibit cases was a reproduction of a
painting by Lily Martin Spencer from the Newark Museum, Newark, New Jersey.
The title was "War Spirit at Home - Celebrating the Victory at Vicksburg."
A seated woman was reading The New York Times and a little boy was wearing a
folded paper hat.  The exhibit closes September 15th.

I'd like directions to visit the Newark Museum.  Also, does anyone know if
postcards, notecards, or posters are available for this painting?

Marcia Mau
marcia.mau@pressroom.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 00:15:33 -0300 (ADT)
From: Douglas Zander <dzander@solaria.sol.net>
Subject: photocopying diagrams

 I have been reading what some on this list say about availability of
 diagrams.  I just want to say that I don't agree with photocopying
 diagrams even if they are out of print.  Robert Lang publicly posted
 a comment something to the effect about how an author will work long
 hours and only get about 5 cents an hour for his/her work on an origami
 book.  I think one thing we have to remember is if we like an origamists
 work, *especially if we really like the model* then we shouldn't photocopy.
 One way an author knows he's good and will continue making the models
 we like is by the income his books get.  If we all refused to buy the
 book and just place the diagrams on a website or photocopied them for
 anyone who asked for them then that sends a message to the author that
 we don't think his work is good enough to buy his book and he should
 give up doing origami.

 This reminds me of computer programs shareware.  If any of you collect
 shareware or work producing shareware you know what I'm talking about.
 Shareware is programs given out for free with the condition that if the
 user likes it and decides to keep it then he is expected to pay the
 programmer for the program.  Ideally, the good programmers get reinforced
 and will continue writing good programs that people want.

 With regard to origami, we can show the author that we like his/her books
 and models by not photocopying them.
--
 Douglas Zander          | editor of GAMES Player's Zine (GPZ)
 dzander@solaria.sol.net | a fanzine about GAMES Magazine (tm)





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 01:24:56 -0300 (ADT)
From: Robert Maldonado <robert_maldonado@csufresno.edu>
Subject: Re: Favorite Animals in Origami

What about Montroll's Bobcat in North American Animals?





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 01:31:59 -0300 (ADT)
From: Rjlang@aol.com
Subject: Cruising and folding (or, a new way to wet-fold...)

Hi all,

Just thought I'd mention a piece of mail I recently received, advertising "A
Cruise for Creasers, featuring Origami Master & Instructor Michael G.
LaFosse". The basic idea being, you take a Majesty Cruise Line trip to
Yucatan and Key West, and along the way learn about "Origami
Butterflies,...Wet-Folding...The Delight of Teaching Origami" from Michael
himself.

Not wanting to turn this into an ad (actually, I wish I'd thought of the
concept myself), but if you want to find out more, contact Doug Shachnow
(famous OUSA name) at Stirling Travel, Boca Raton, Florida, 407-361-9190 for
the lurid details.

Robert





Return-path: <origami-l@nstn.ca>
Date: Mon, 26 Aug 1996 01:39:03 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: photocopying diagrams

> I have been reading what some on this list say about availability of
> diagrams.  I just want to say that I don't agree with photocopying
> diagrams even if they are out of print.  Robert Lang publicly posted
> a comment something to the effect about how an author will work long
> hours and only get about 5 cents an hour for his/her work on an origami
> book.  I think one thing we have to remember is if we like an origamists
> work, *especially if we really like the model* then we shouldn't photocopy.
> One way an author knows he's good and will continue making the models
> we like is by the income his books get.  If we all refused to buy the
> book and just place the diagrams on a website or photocopied them for
> anyone who asked for them then that sends a message to the author that
> we don't think his work is good enough to buy his book and he should
> give up doing origami.

        I'm not so sure I agree with all of this.  While I _do_ empathize
with the lamentable amount of money that origami books generate for their
authors (when since Harbin has an origami book been a best-seller???), I
think we must also keep in mind that origami is an _art_.  Artists (of the
stereotypical painter/sculptor/musician variety) are notorious for their
underpay; only the extremely lucky (and/or talented) actually make it
big-time while they're still alive to reap the benefits of their work.
Despite this, artists continue to produce works of art.  They do not
produce necessarily because they want to make gobs of dough from their
works (at least, any artist that can put any soul into a work won't produce
purely for money) -- the artist produces because, as a dictate of his/her
soul, he/she _must_ produce those works of art!  Origami is most comparable
to music, perhaps, in the realm of art in that directions for reproduction
of the piece are commonly published and distributed (unlike a painting or
sculpture).  However, not all published music is purely from big, famous
names:  much of it is from lesser-known names, people who distribute their
work solely because they want to make contributions to the world through
their art.

        Granted, with many of the out-of-print books, the authors are
deceased, so we can't ask them if they find it copacetic for we, the
origami-loving community, to share in their otherwise difficult-to-obtain
works via photocopying.  I will state for the record here that I personally
do not care, and, in fact, openly encourage people to distribute my works
in this fashion, both now and at any time in the future:  I do not produce
origami as a means of making a living (though I admit, I often fantasize
about opening an origami art shop somewhere as a supplementary income,
selling completed models as decor items); rather, I produce them because I
love doing so, and as I know first-hand the voracious appetite that other
folders have for new models, I am only too happy to make my work available
to them.  I hope that they learn from what I've done, and embellish on it;
take the works inside themselves and use it to spur their own creative
instincts.  Granted, what little I've produced of my work thus far makes
that difficult, but that's not because it isn't returning to me a profit,
but solely because of a persistent lack of time!  8-(  From what few
discussions I've had with other origami creators, my impression is that few
if any of the creators are, at heart, truly adverse to their works being
spread freely, especially given the small size and vast distribution of the
origami community.  (If I am speaking incorrectly and inappropriately here
for anyone, please do correct me!)

        As several of you are aware, I have in the past offered to
distribute diagrams to people of difficult-to-obtain and/or out-of-print
diagrams (such as the recent Lego ones or, in the past, Pat Crawford's
"Baby Grand Piano") for no profit of my own (merely recompensation of
postage; I have covered all xeroxing costs myself).  I would only ask that
anyone who perceives this act as inappropriate ask themselves "What good is
the work of art if it cannot be seen and appreciated by as wide as possible
an audience?"  However, I am also very much in favor of republication of
many of the out-of-print origami books, especially the Harbin books.  I can
easily see all 4 parts of his _Origami_ series reproduced in one volume!
Such a republication would serve to do exactly as I stated above:  make the
models available to a wider audience than they currently have.  I
personally believe that this is what art is all about, not fiduciary
profit.

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, 26 Aug 1996 01:42:55 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Favorite Animals in Origami

On Mon, 26 Aug 1996, Robert Maldonado wrote:

> What about Montroll's Bobcat in North American Animals?

You mean, Kawahata's Bobcat in Montroll's book.

Yoshino Issei's book contains a very good looking cat. (I've seen the cat,
but I've not seen the book. Yamaguchi-san told me that the cat would appear
in the book.)

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