




Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 13:32:32 -0300 (ADT)
From: TrekDBob@aol.com
Subject: symbolism

I am sort of blown away with the discussion on symbolism -- I have never had
much of a philosophical bent... but it strikes me as amazing that the human
brain can see the way it does.... I know one of the hardest things for the
people involved in artificial intelligence is getting the computer brain to
recognize faces... and I would imagine, other things.

I think about the International Symbols that one finds on doors, etc., all
over the world --- you may not be able to speak the language, but you can
always find the ladies (or mens room) by the look of the stickfigure on the
door. (Although when we visited Hawaii, I thought, at first, "mahalo" meant
"trash", rather than "thank you" since it appeared on all the trash can
doors.)

Oddly enough, people base their recognition on different things, too. Brett
mentioned that to her a tiger wasn't a tiger without the ruff on the cheeks.
I had to look at a picture of a tiger to see what she meant. To me a tiger is
the stripes... which is why I really like Montroll's tiger even though I have
been told by others it looks too stiff... they perhaps see the curves and
sinuousness of the tiger...

Now I am blathering - sorry

Dee





Return-path: <origami-l@nstn.CA>
Date: Fri, 30 Aug 1996 14:24:33 -0300 (ADT)
From: Brett Askinazi <askinazi@i1.NET>
Subject: Re: symbolism

> Oddly enough, people base their recognition on different things, too.
Brett
> mentioned that to her a tiger wasn't a tiger without the ruff on the
cheeks.
> I had to look at a picture of a tiger to see what she meant. To me a
tiger is
> the stripes... which is why I really like Montroll's tiger even though I
have
> been told by others it looks too stiff... they perhaps see the curves and
> sinuousness of the tiger...
>
> Now I am blathering - sorry
>
> Dee

Another Brett perhaps maybe Bren  ?

This Brett is a man ;)

Anyway is there another Montroll Tiger beside the one in Mythical Creatures
 ?

Brett
askinazi@i1.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 15:04:52 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@leatherback.nist.gov>
Subject: Re: symbolism

At 02:24 PM 8/30/96 -0300, Brett wrote:
>
Dee wrote
>> the stripes... which is why I really like Montroll's tiger even though I
>have
>> been told by others it looks too stiff... they perhaps see the curves and
>> sinuousness of the tiger...

Brett wrote
>Anyway is there another Montroll Tiger beside the one in Mythical Creatures
> ?

I think the tiger model (with stripes) Dee mentioned is the one in Origami
Inside-Out.

Have fun!

|--------------------------------------------------------------------\
|  _        Shi-Yew Chen (a.k.a. Sy) <chens.mbr@asme.org>            |\
| |_| Folding http://roger.ecn.purdue.edu/~sychen/origami/pprfld.htm --\





Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 15:16:38 -0300 (ADT)
From: Sheldon Ackerman <ackerman@dorsai.dorsai.org>
Subject: Re: symbolism

>
> Anyway is there another Montroll Tiger beside the one in Mythical Creatures
>  ?
He has a tiger in his Origami Inside-Out book.

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 18:00:37 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: New & Improved ASCII Sonobe module

"Joseph and Mary Schirmer" <jmschirm@airmail.net> write:
>
>I apologise for asking the entire list, but I missed the ASCII Sonobe
>diagram.  Could someone please forward me the origional article?

Follows below.

>                                                                  I
>have recently started folding Sonobe units to make really facinating
>constructs and was wondering of this article had anything new to add
>to the subject.

It doesn't.  :)  But here it is anyway, corrected and updated:

======================= CUT HERE =======================

The simple Sonobe module:

1)  Valley-fold, unfold:

+----------------------+
|                      |
|                      |
|                      |
|                      |
|                      |
|-- -- -- -- -- -- -- -|
|                      |
|                      |
|                      |
|                      |
|                      |
+----------------------+

2) Valley-fold edges to horizontal centerline:

+----------------------+
|                      |
|                      |
|-- -- -- -- -- -- -- -|
|                      |
|                      |
|----------------------|
|                      |
|                      |
|-- -- -- -- -- -- -- -|
|                      |
|                      |
+----------------------+

3)  Valley-fold two opposite corners and unfold:

+-----------\----------+
|\            \        |
|  \            \      |
|====\============\====|
|      \            \  |
|        \            \|
+----------\-----------+

4) Mountain-fold small corners under:

+----------------------+
|\.                    |
|  \.                  |
|====\============\.===|
|                   \. |
|                     \|
+----------------------+

5) Result:

+----------------------+
|\                     |
|  \                   |
|----+============+----|
|                   \  |
|(a)                  \|
+----------------------+

6) Re-fold valley-folds, tucking (a) underneath:

+-----------+
 \      {a}.| \       <--- Point (a) is hidden underneath
   \       .|   \
     \=====..=====\        Dotted lines show hidden edges
       \   |.       \
         \ |.         \
           +-----------+

7) Mountain-fold two corners, and unfold.

+---------./+
 \      ./  | \
   \  ./    |   \
     \==========./\
       \   |  ./    \
         \ |./        \
           +-----------+

 8) The vertical centerline should be folded and unfolded as
    follows:

    * No fold for the (trivial) 2-unit assembly.  (coaster)
    * Mountain-fold for other assemblies smaller than a 6-unit
      cube (Toshi's Jewel (3 units), cushion (4 units), etc.).
    * No fold for a 6-unit cube.
    * Valley-fold for anything larger (30-unit sub-stellated
      icosahedron seems to be the most popular one).

Stick them together, flaps in pockets, the only way they fit.

  -- Steve Arlow, 1996 August 30

======================= CUT HERE =======================

Have fun.

--
"I felt a strong desire to howl at the moon.   |  Steve Arlow, Yorick Software
 It was such a howlable moon.  But I           |  39336 Polo Club Dr. #103,
 restrained myself."  -- Snuff (Zelazny)       |  Farmington Hills, MI  48335
   My email is backlogged; please be patient.  |  http://www.msen.com/~yorick





Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 20:45:18 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: "wonder of wonders.... "

I am soooooooooooo glad to hear someone else got their convention pack.  Is
it my turn Yet!!!?
                     Penney





Return-path: <origami-l@nstn.ca>
Date: Fri, 30 Aug 1996 22:12:26 -0300 (ADT)
From: dragon@freenet.edmonton.ab.ca
Subject: Re: Origami Convention pack.. "

Hi everyone.  I just received my origami convention pack.  so for any
canadians that may ordered it looks like they are on their way.....
I am looking forward to trying out some of the models this weekend, thank
goodness it's a long weekend, perfect time to fold fold fold.

Lynda Hayashi





Return-path: <origami-l@nstn.CA>
Date: Sat, 31 Aug 1996 06:29:54 -0300 (ADT)
From: oded streigold <benjic@netvision.net.IL>
Subject: Queen  logo, and  Kawasaki  cube

 Hallo everyone!

 Sorry for not posting anything in a long time, I guess being a quiet
     doesn't change in writing...

 August and September were very busy origami months for me, as in them are
     the birthdays of my two best friends, my brother, his wife and my father.
 One of my friends is a big fan of Queen rock band, so I made him Queen's
     logo. The logo contains a dragon, two lions, three crowns, a crab, two
     fairies and a Q. I chose David brill's lions from Brilliant Origami,
     Robert  Lang's blue crab from O
!
 I         designed my self.

 The only problem is that I'll have to give it away!

 For the Kawasaki cube question, I'll fold it now and see how it works,
 but from what I remember: the two area marked * should be opened, and
 the equivalent areas from beneath should be opened too. The filled triangle
     and the filled circle areas are opened and they turn into walls, the empty
     circle and filled square areas turn into walls downwards, try to
     concentrate on turning

Hope this helps!

BYE!!

Oded.

Email: benjic@netvision.net.il





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 06:40:03 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: BOS booklets survey

Evening 'all

if you have a few minutes to spare, could you have a look at the
booklets survey link I've put at the BOS web site (address below)?

It's a chance to discover what kind of on-line sales might be generated
and (to be honest) a chance to test HTML forms, which I've not used
before! If it works as planned, it will pave the way for on-line
ordering of BOS stock. You simply look at the list, tick the boxes &
click the "send" button - even Fergie could manage it ;)

all the best,

Nick Robinson
email           nick@homelink.demon.co.uk
homepage        http://www.rpmrecords.co.uk/nick
BOS homepage    http://www.rpmrecords.co.uk/bos/
RPM homepage    http://www.rpmrecords.co.uk





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 13:01:20 -0300 (ADT)
From: "Beverly D. Chiu" <beverly_chiu@mindlink.bc.ca>
Subject: Fuse Boxes: Book Recommendation?

Hello all,

I have recently renewed my interest in Origami and have a particular
interest in boxes. (Sullivan's Un-unfoldable box really got me going
again and Brill's Rhino has inspired me, although I don't even think I
would attempt it at this stage.)

I see that Fantastic Folds has 3 books by Fuse related to boxes:

Origami Boxes
Quick & Easy Origami Boxes
Joyful Origami Boxes

What are the differences between these books and which would be most
suitable for a beginner? I am looking for the book which would have the
simplest models/instructions where I would have the greatest chance of
success!

I note that "Joyful Origami Boxes" are "intended for an inexperienced
beginner" but it seems like "Quick and Easy Origami Boxes" would also be
for a beginner. Do these have many of the same models?

Thanks for any feedback!

Bev





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 13:26:47 -0300 (ADT)
From: Emily Hackbarth <emily@exo.com>
Subject: Re: Fuse Boxes: Book Recommendation?

> Origami Boxes
> Quick & Easy Origami Boxes
> Joyful Origami Boxes
>
> What are the differences between these books and which would be most
> suitable for a beginner? I am looking for the book which would have
> the simplest models/instructions where I would have the greatest
> chance of success!

I have _Origami Boxes_ and none of the folds are very difficult. The
assembly can be a little tricky though. I haven't got _Joyful Origami
Boxes_ yet but I looked at it in the store and it has some amazing
domed lids in it. I don't know how difficult they would be to fold
but I can't wait to try! The thing about boxes is that they almost
always seem to be very intuitive. Since they are so geometric there
is very little guesswork involved. Anyway, I love box folds and I
want to get all of the books you mentioned so I will be interested to
read other people's responses to this question.
Emily Hackbarth





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 14:34:09 -0300 (ADT)
From: James_Sakoda@Brown.edu (James M. Sakoda)
Subject: Re: Artistic or Realistic

In folding an object to show to another or at a convention the aim
generally is to impress.  At a convention the displays are usually made
impressive by making it large and complex, to a point it seems impossible
to produce by folding alone.  When one wants to impress someone seated next
to you on a bus or train it is much easier to fold something quickly.
However, for it to be impressive it should be cute or artistic, so that the
viewer is impressed by it.  Those seeking complexity and
anatomically-correct details have a hard row to hoe since paper folding has
many limitations.  Attempting to overcome these limitations runs into the
risk of  using force.  The paper is no longer smooth, the thin legs turn
out bulky, etc.
        My road to invention of cute or artistic foldings began when I
first folded the eight-point star, which was based on the bird base with a
sunken center point, the four major points folded up on the sides of the
inner square, and the inner square petal folded to form four extra points.
I found that the eight point star provided a strong three-dimensionsal
structure and by relying on them I could create some attractive creatures
without much effort.  One of my first creations was Pegasus, the winged
horse.  One point was unfolded to form the head, two side points were bent
badk for wings, and the four sturdy legs wnd the tail was formed without
any further folding.  I found it preferable to avoid realism, such as
adding extra crooks to the neck or legs, and relied on emphasizing a
prominent feature or two.  I did not hesitate to fold animals with three
legs and human heads were invariably diamond shaped and arms and legs
simply coners of squares which had been petal-folded.  I tried, not for
realistic details, but geometric shapes with an impression so that I could
refer to the proud giraffe, the perky mouse, the gentle swan.  The addition
of details sometimes help to create a better impression, such as my
bug-eyed frog, whidh has both eyes, an open mouth as well as impressive
rear legs.  On the other hand, I refrained from putting in extra creases in
the legs of my standing crane.  Many of my figures are quite geometric and
unrealistic in design, not unlikke the Japanese folded crane (orizuru),
which stands as an example of excellent design.  When one is tempted to add
an extra feature, one might well sit back and consider whether it improves
the impression that it makes or not.





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 19:14:42 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Solution to Disintegrating Books

Hi Everyone! -

        I know that some persons here have had a problem with overused (if
there can be such a thing in origami!) books splitting their bindings or
having sections of pages fall out.  Well, I think I once recommended
heading down to a local Kinko's and having them spiral bound -- the spiral
binding allows them to be opened flat more easily, anyway -- so I did that
today with two of my books which were falling apart:  Lang's _Origami
Insects_ and Kasahara's _Origami Omnibus_.  The spiral binding is a little
bit less attractive than an intact binding on the outside, but the inside
becomes much more useable!  There were no discernable problems with Lang's
book, but a few of the model photos in Kasahara's book, which went right to
the central margin of a page, had slits punched in them where the binding
went through.  It doesn't appear that any of the diagrams were affected,
though.  I also had clear vinyl covers put over the fronts and backs of the
books (over the original covers) to protect them, since I've found through
experience that repeated insertion and removal of a spiral-bound book on a
tightly-packed shelf will erode and eventually remove a paper cover.  The
total cost for both books was a little over $7 with tax -- certainly
cheaper than trying to replace both books!

        Anyway, now I know that this method works, and Kinko's will do it,
so I thought I'd mention it here in case anyone else was curious.

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: Sat, 31 Aug 1996 21:24:14 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: WaterBombs/cat toys

-- [ From: Janet Hamilton * EMC.Ver #2.5.1 ] --

> 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.

If I recall my botany correctly, catnip is in the mint family.  I have
some peppermint plants outside (the only survivors of a failed herb
garden), and my cat is usually intrigued with my shoes when I come in
from  weeding around them.

Janet Hamilton mikeinnj@concentric.net
--
Janet Hamilton
dbsh47b@prodigy.com
--
Janet Hamilton
dbsh47b@prodigy.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 21:27:54 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: Toshikazu Kawasaki Rose

-- [ From: Janet Hamilton * EMC.Ver #2.5.1 ] --

> > By the way, the copyright of photographs of creations are not
> > for the creators but for the photographers in the same reason.
> > The exception is the portrait photos.  People are considered to
> > have the rights of their own portraits.  So the permission of
> > both photographer and the person who is taken pictures of is
> > needed to distribute them.
>
> Not true in the USA. Copyright of photographs belong to the
photographer, not
> to the subject. As far as I understand it, of course.

This area has never been real clear to me.  I had always thought that in
the US a signed release was needed to publish photographs of people, but
this seems only to be true of actual portraits.  Pictures taken in a
public place do not require releases from the people in the photos.  We
found this out several years back when we got a call from a friend
asking if we had looked at the new issue of Smithsonian magazine.  When
we checked out the page he mentioned, we found a picture of our family
at Woodbridge Center Mall.  My husband called Smithsonian, and initially
they seemed a little worried that we might have a problem with the
picture (though legally they were within their rights).  My husband
explained that we just wanted to know how to get more copies, and they
sent us a box full.

Janet Hamilton
mikeinnj@concentric.net
--
Janet Hamilton
dbsh47b@prodigy.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 21:27:42 -0300 (ADT)
From: DBSH47B@prodigy.com (MRS. JANET J HAMILTON)
Subject: Re: Toshikazu Kawasaki Rose

-- [ From: Janet Hamilton * EMC.Ver #2.5.1 ] --

Joseph Wu said:
>
> Not quite true. Kawasaki-san taught the rose at the Origami USA
convention in
> 1994, where I learned it. I taught it to Winson Chan of Vancouver, and
he has
> made diagrams of it.
>
KAWASAKI Toshikazu says, then NAKANISHI Ken-ichi translates and remarks:
> > I think, as a creator of the model, "I'm glad that anyone
> > distributes the procedure of folding to have many people to enjoy
> > folding my creation.  But the name of the source and its author
> > should be specified clearly.

So now I need a little clarification.  Please correct any of the
following statements if I am wrong.  The rose diagrams that Winson has
are NOT the rose in OftC.  Winson, as the diagrammer, must give
permission to distribute his diagrams.  Kawasaki-san, as the creator,
should be asked for permission, also.  From the message posted by
NAKANISHI Ken-ichi, it seemed that Kawasaki-san was happy to have his
models shared, as long as proper credit was given in the diagrams.

So, if proper credit to Kawasaki-san is given in Winson's diagram, it
looks like it is okay to have the diagrams posted.

Janet Hamilton
Mikeinnj@concentric.net
--
Janet Hamilton
dbsh47b@prodigy.com





Return-path: <origami-l@nstn.ca>
Date: Sat, 31 Aug 1996 23:35:41 -0300 (ADT)
From: Douglas Zander <dzander@solaria.sol.net>
Subject: Sonobe modules units?

I have made the 2, 3, 4, and 6 unit models.  I am wondering if there is any
5-unit model that can be made?  Also, how about higher than 6?  7,8,9,10,etc?
I am also wondering if anyone ever combined right-handed and left-handed
Sonobe modules to make anything?

--
 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: Sun, 1 Sep 1996 07:23:12 -0300 (ADT)
From: DLister891@aol.com
Subject: No Copyright in People's Faces.

In her note dated 1st, September (and headed "Toshikazu Kawasaki Rose) Janet
Hamilton, mentions again the question whether people have any copyright in
their faces and whether a publisher must obtain copyright clearance from both
the photographer and the person photographed.

I'm sorry I omitted to deal with this point properly in my contribution about
Copyright in Photographs dated 26th August.

So far as obtaining the consent of the photographer is concerned, I hope that
I made it clear that while the photographer him/herself is usually the owner
of the copyright in the photograph, it may be someone else who owns the
copyright and permission must be obtained from he/she or it, in whomsoever
the copyright is currently vested.

As has been said, there is no copyright in a person's features, at any rate
in English or United States copyright law. (I can't speak for every legal
jurisdiction in the world). So for the United States and England (and also, I
may say, Scotland, which has a separate legal juridiction from England and
Wales) there is no necessity in law to get permission from the subject of the
photograph as opposed to the owner of the copyright in the photograph. But
remember that we live in the Global Village and publications from any country
(and, because of the widespread use of English around the World, especially
from English speaking countries) are likely to turn up in every corner of the
globe. Some of those corners of the globe may have enacted laws that require
permission to be obtained from the person whose features appear on the
photograph. Consequently a publisher in England or America or any other
country may think it prudent to obtain the consent of the subect of the
photograph, just to be on the safe side. I have to say, however that I don't
actually know of any country which has actually enacted laws of this kind,
but such provisions could easily come under laws enacted to protect personal
privicy. Nor do I know whether publishers do in actual practice require
clearance from the subject of photographs for this reason. (Perhaps someone
can give more information about this.)

There is however, another reason why publishers obtain clearance from the
subjects of photographs. This is not a matter of law, but of discretion. Let
me illustrate with just one instance. A famous (or not so famous) person
decides to visit a nudist resort. While there, the local newspaper comes
round to "do" a feature on the resort. To illustrate their article, the
reporter and his photographer take photographs of the members enjoying
themselves in the sunshine. While some people may be happy for their
photographs of them enjoying themselves at a nudist resort to appear in a
public newspaper, others would most definitely object. It coud ruin a film
star's career. And someone in a "sensitive occupation", like a doctor or a
judge would unquestionably suffer if his secret got out. Other people's
employers might not take a facourable view of a nudist employee. Whatever the
law may say about this, most publications would not wish to intrude on the
private lives of the doctor or the judge in this way, at any rate if there
was no scandal involved. (Though I can think of several tabloid newspapers
which would leap at the opportunity of publishing photographs of the film
star!). Consequently, before printing such a photograph, a publisher will
require the consent of the people who appear in the photograph. The same
applies to "art" photographs taken of models without clothing. Magazines
always require a signed "model release", because a model may well be willing
to pose in the nude for an artist of photographer for his own private
purposes, but not if he intends to sell his work to a magazine.

This is only one instance to illustrate why publshers of photographs often
obtain  the subject's consent. But, in pracitce, there must be limitations to
this. Photographs of incidents in ordinary life - in the street or at
sporting events or at ordinary social functions or even at the seaside where
people wear a somewhat reduced amount of clothing - are frequently printed
without any subject-consent being  obtained. Whether or not consent is asked
depends on the sensitivity of the situation. It is more likely to apply to
someone who is prominent in the photograph than to someone who is merely a
bystander in the background. Again there is neither law nor a generally
accepted conventional rule about this. Different publications, too, have
their own standards. I get the impression that newspapers are increasingly
less scrupulous about these matters.

On a different point, it has been suggested that there may be a difference
between a casual photograph and a portrait photograph. There is no difference
in the law, but remember that the copyright in the photoraph may belong to
the subject if he or she has so arranged it with the photographer. However,
even if the copright belongs to the photographer, if he has take the
photograph at the behest of the subject, then he is very likely to be under
contract to the subject. To release the photograph to all and sundry would
unquestionably be a breach of contract. The photographer will not therefore
release the photograph to a third party without the consent of the subject.
(or a substantial bribe that will make the risk worth-while!)  And knowing
these things, a publisher may well be inhibited from printing a portrait
photograph supplied by a photographer without similarly insisting on a
"subject release". It might be otherwise with an old portrait photograph
which has found its way into a photographic library or in some-such similar
circumstances.

The law is much more complicated than most people realise, and it is not
merely a matter of looking something up on a specific page of a book. That's
why lawyers exist! But not all our actions are carried out because of the
law, however much it may now seem to extend into every corner of our lives. I
hope that this note has helped to illuminate a few dark corners.

I feel I must, however, apologise for going on at such length again and
especially about a subject which really has little direct to do with Origami.

David Lister

Grimsby England

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 11:00:27 -0300 (ADT)
From: Paul Slater <P.Slater@swansea.ac.uk>
Subject: Abstract on virtual origami.

Hello folks, I was searching for some references in a science
database, and for fun searched "origami". I was expected a few
molecular folding papers, but there was quite a few computer and
mathematically related abstracts also.

However, the abstract that really got me interested was about
virtual origami. Here it is:

(1)   TI: AN ORIGAMI PLAYING SIMULATOR IN THE VIRTUAL SPACE
      AU: MIYAZAKI_SY, YASUDA_T, YOKOI_S, TORIWAKI_JI
      NA: CHUKYO UNIV,SCH COGNIT & COMP SCI,TOYOTA,AICHI,JAPAN
          NAGOYA UNIV,SCH INFORMAT & SCI,NAGOYA,AICHI,JAPAN
          NAGOYA UNIV,FAC ENGN,DEPT INFORMAT ENGN,NAGOYA,AICHI
          464,JAPAN
      JN: JOURNAL OF VISUALIZATION AND COMPUTER ANIMATION, 1996,
          Vol.7, No.1, pp.25-42
      IS: 1049-8907
      AB: A virtual manipulation system for origami (paper folding) is
          described. A piece of paper defined in a computer can he
          deformed interactively by picking and moving a corner
          vertex of a paper face on a graphic screen using a
          mouse, Three kinds of folding operations and a curving
          operation transform the paper into a three-dimensional
          figure made of flat or curved surfaces, The roundness of the
          curved surfaces is calculated in real-time by minimizing an
          elastic energy function, The simulated paper has traditional
          Japanese decoration applied as a texture to give a more
          realistic appearance. It is rendered with shading in real-
          time.
      WA: VIRTUAL MANIPULATION, INTERACTIVE SIMULATION, PAPER FOLDING,
          REAL-TIME INTERACTION, NATURAL USER INTERFACE, VIRTUAL
          REALITY

This sounds really quite advanced. I remember that a number of people
were doing similar projects a few months ago. The question is, Will
software like this come onto the market. Or is it so advanced that
only 'super' computers could cope with the data?.

Another point could be: Will origami as we know it be replaced by
'folding' computerised models. Programs like the one above look as
though this might be a (SLIGHT) possability. Think about how many
traditional games are now computerised, e.g. reversi, chess, etc.
It's getting hard to find the first of these examples in the toy
shops. Then again, programs like this could save a hell of a lot of
paper while trying to fold a Robert Lang insect...

Yours, forever amazed how far computers have got since BBC model B's..

Paul.





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 12:43:14 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: RE: Sonobe modules units?

Douglas Zander asks if right and left handed modules are ever combined.

I might bring to your attention that there is a variation of the Sonobe
unit that is a strip of four equilateral triangles whereas the Sonobe
unit can be viewed as a strip of right isosceles triangles. With the
equilateral strip module, 5 right and and 5 left had modules make
an icosahedron.

There are two version of and equilateral strip module in my book,
as well as another one that was published in the FOCA, now OUSA
newsletter, by James Sakoda.

Rona





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 16:42:15 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: Re: Abstract on virtual origami.

On Sep 01, 1996 11:00:27, 'Paul Slater <P.Slater@swansea.ac.uk>' wrote:

>
>
>This sounds really quite advanced. I remember that a number of people were

>doing similar projects a few months ago. The question is, Will software
like
>this come onto the market. Or is it so advanced that only 'super'
computers
>could cope with the data?.

This sounds like something Robert Lang came up with a few years ago. This
program allowed the user to manipulate a square, and essentialy fold on
screen. It is a pretty neat program, although it seemed to quickly crash
when attempting any move on the intermediate level. I think I remember
seeing the program at the archives (Macintosh version only).

Marc





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 17:28:25 -0300 (ADT)
From: "Ole A. Nielsen" <nielseno@knot.queensu.ca>
Subject: Fuse Boxes

Hi all,

I own Tomoko Fuse's book "Origami Boxes" and none of the folds are that
hard, although putting together the last unit is always a pain! Sometimes,
especially on the hexagon/octagon boxes, paper-clips come in handy to hold
pieces together.
Included in this book are:
Tsuzura
Square boxes (4 pieces)
Square lids (4 pieces)
Octagon box (4 pieces)
Octagon lids (4 pieces)
Triangle Boxes (3 pieces)
Hexagon Boxes (6 pieces)
Hexagon Lids (6 pieces)

While on the subject of boxes, David Brill's "Brilliant Origami" also has
some boxes, including the impressive "box and lid" from 1 sheet of paper.

Janet Nielsen





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 18:10:25 -0300 (ADT)
From: DLister891@aol.com
Subject: Re: Creating Origami

About the e-mail dated 30th August from Bren Riesinger:

I'm dim: which wonderful but elusive book?

David Lister

DLister891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 18:10:39 -0300 (ADT)
From: DLister891@aol.com
Subject: Re: Fuse Boxes: Book Recommendation?

Origami-L (Emily Hackbarth)  Fuse Boxes:Book Recommendation 1.Sept 96

In her E-mail dated 31st August, Emily Hackbarthe asks for information about
the contents of Tomoko Fuse books and gives a number of purported titles in
English.

Sadly, in the case of Tomoko Fuse's books, this is scarcely sufficient
identification. She has written over thirty titles, many of which have
similar or nearly similar names, especially when translated into English.
Many are otherwise so similar as to be confusing.

It is essential, when referring to Tomokos's books without the Japanese
characters, (and that is impossible in Origami-L) to quote the ISBN numbers.
Fortunately all her books now have these. They give precise identificaation
of each particular book, and if your have the book, they are readily
obtainable form its cover.

Dear Tomoko!  However does she manage it?

David Lister

Grimsby, England.

D.LIster891@AOL.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 21:23:54 -0300 (ADT)
From: Basyrett@aol.com
Subject: Re: I think it's time I should introduce myself!

Hi Emma,
I'm Barbara.  I visited Wales some years ago.  It was fantastic!  What
wonderful memories  :-)  Welcome to the list and happy folding.





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 21:36:45 -0300 (ADT)
From: Basyrett@aol.com
Subject: Re: cranes mailed to Hiroshima

Hi Cathy
Fred Small is a folk singer.  The song is basically a recounting of the 1000
paper Crane story.  His albums(cds and cassettes) can be ordered from Flying
Fish Records, 12304 W Schubert, Chicago, IL, 60614  (312) 528-5455.  I had
the album with The crane song on it but of course I can't find it in this
origami rubble that occupies my house!  :-)   Barbara





Return-path: <origami-l@nstn.ca>
Date: Sun, 1 Sep 1996 22:25:32 -0300 (ADT)
From: Basyrett@aol.com
Subject: Re: Solution to Disintegrating Books

Jerry
thanks for the great info!  I'm on my way to Kinko's now :-)
Barb





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 00:00:26 -0300 (ADT)
From: Joseph and Mary Schirmer <jmschirm@airmail.net>
Subject: Re: Fuse Boxes: Book Recommendation?

> From:          "Beverly D. Chiu" <beverly_chiu@mindlink.bc.ca>

> Origami Boxes
> Quick & Easy Origami Boxes
> Joyful Origami Boxes
>
> What are the differences between these books and which would be most
> suitable for a beginner? I am looking for the book which would have the
> simplest models/instructions where I would have the greatest chance of
> success!

I have Origami Boxes and Joyful Origami Boxes by Fuse.  Both would be
suitable for a beginner.  My 13 year old niece was over today eyeing some
of the boxes that I had recently made.  I sat her down and taught her the
Triangle Box and Pyramid Lid from Joyful in no time.  They were quite
simple and she was very impressed with the result.

If you had to choose between one of the two I would suggest Joyful
Origami Boxes.  It is the larger of the two (98 pp. vs. 72 pp in
Origami Boxes) and has a larger assortment of boxes.  The two do
share many of the same models but both are worth while getting if
you really enjoy boxes.

--Joe Schirmer
jmschirm@airmail.net
--
Joseph and Mary Schirmer
jmschirm@airmail.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 01:56:14 -0300 (ADT)
From: PenneyA@aol.com
Subject: Thanks Em!

I recieved the Rose and I thank you for it but I have tried and tried and am
so close but not close enough.  I am having a heck of a time trying to swirl
the diagonal creases around.  Two times I actually got something that looked
like petals but the part where you turn the rose upside down doesn't work out
quite right either.  The points are not long enough to interlock!!  Anyone
got any ideas for me?
                               Penney





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 05:03:36 -0300 (ADT)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: Dave Brill's Box with Lid

Hi all,

----------
From:   Ole A. Nielsen[SMTP:nielseno@knot.queensu.ca]

While on the subject of boxes, David Brill's "Brilliant Origami" also has
some boxes, including the impressive "box and lid" from 1 sheet of paper.

Janet Nielsen

Whenever I try this model, there never seems to be enough paper left to
make the lid, or the hinge doesn't turn out right.

Dave

*=================================================*
*  David M Holmes           holmes@chbs.ciba.com  *
*-------------------------------------------------*
*  IS 4.8 Internet/Intranet - Infrastructure      *
*  R-1008.P.G3                                    *
*  Tel.  : 0041-61-69-76503                       *
*  Fax   : 0041-61-69-73652                       *
*-------------------------------------------------*
*  Error: Caffeine Not Found - Programmer Halted  *





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 11:05:15 -0300 (ADT)
From: fatboy <fatboy@main.aquanet.co.il>
Subject: Re: Thanks Em!

PenneyA@aol.com wrote:

 The points are not long enough to interlock!!  Anyone
> got any ideas for me?
>                                Penney

I must admit that I haven't been able to get them to interlock either; I
either put the finished flower in a brandy snifter, and that holds it
'closed', or (may Heaven forgive me) I tape them shut (blush, hide
behind the couch).

Shalom LeVine
fatboy@main.aquanet.co.il





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 11:50:17 -0300 (ADT)
From: james white <jwhite@osha.igs.net>
Subject: re: crane

At kiku.stanford.edu there is a crane page. These particular pages show how
to fold a crane.
If anyone is familiar with this page maybe you could give me some help.

Working with pictures everything seems straight forward.<grin>
That is intill i reach step 8.
It's apparent that i'm not seeing what i'm supposed to see.

Step 8 shows that you fold the left,right corners to the center and the top
corner (valley fold) down to the center.
Question...
Do you make the folds and keep them pressed or do you unfold them after
making these folds?

Step 9 shows that you then turn it over and fold the right,left corners to
the center.
Step 10 shows that you open the flap. There is no flap if you leave the
corners folded to the center. So i make the corner folds then i unfold the
corners and now there is a flap like the picture in step 10.
You then fold this flap upwards.

At this point i'm a bit confused but not too badly and i blunder onward.

Steps 11 and 12, at this point i'm toast. Somewhere in these steps I should
end up with a long diamond shape. (i just don't see how).

I have a book called Classic Origami by P.D. Tuyen. It also has a crane
fold but it's even more confusing. It's quite a bit different in the
folding than the one above.   Apparently there's more than one way to skin
a cat. ( i think i've just about used up it's nine lives) <sigh>.

I think I should have stuck to basket weaving <chuckle>

Any help would be greatly welcomed.

Thanks,
Jim





Return-path: <origami-l@nstn.CA>
Date: Mon, 02 Sep 1996 14:01:24 -0300 (ADT)
From: "Ole A. Nielsen" <nielseno@knot.queensu.CA>
Subject: Thanks, Em!

PenneyA@aol.com wrote:

 The points are not long enough to interlock!!  Anyone
> got any ideas for me?
>                                Penney

I must admit that I haven't been able to get them to interlock either; I
either put the finished flower in a brandy snifter, and that holds it
'closed', or (may Heaven forgive me) I tape them shut (blush, hide
behind the couch).

Shalom LeVine
fatboy@main.aquanet.co.il

Another idea for finishing the rose (not ideal, but hey!) is using a hot
glue gun.
Janet





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 16:01:53 -0300 (ADT)
From: dbwalker@nilenet.com (David Bruce Walker)
Subject: old books

hi guys;

on friday of last week, I had the most amazing luck, I found in 2 used books
the following for less than $18.00 american.

harbin" origami, a step by step guide,
  this one has a lot of items by pat crawford including the full rigged ship

ansill's   "mythical beings, the dragon by neale and harris's gargoyle are
my favorites

harbin's "secrets of origami" this one was a read find, hardcover 250 pages
and in mint condition. it has some great folds, such as the helmet with
tortise and crane see page 25 of engel's "folding the universe, also some
models by unamuno also in engle' book page 27. but for me the highlight was
the rabbit for square by rohm, as a magician i've always wanted to do that
model.  there also models by ligia montoya, cerceda, elias, neale and
rhoads, as this book was printed in 1973, i believe it is out of print. so
if any of you guys want copies of the diagrams from any of the above, drop
me a line. all you have to provide is a stamped self-addressed envelope'

david

by e-mail address is dbwalker@nilenet.com
my snail address is

david walker
714 fairfax
denver, co 80220
303-322-2671





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 16:08:21 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: re: crane

Jim wrote:
>At kiku.stanford.edu there is a crane page. These particular pages show how
>to fold a crane.
>If anyone is familiar with this page maybe you could give me some help.

I understand why you are confused.  The pictures in this sequence have a few
gaps and at least one cheat....

>Step 8 shows that you fold the left,right corners to the center and the top
>corner (valley fold) down to the center.
>Question...
>Do you make the folds and keep them pressed or do you unfold them after
>making these folds?

If you follow the sequence of pictures (and they will get you there), leave
the folds in step 8 pressed down BUT notice that only the top "pages" of the
paper get these folds.  This is shown in step 8 but not in the following
pictures (that's the cheat).
>
>Step 9 shows that you then turn it over and fold the right,left corners to
>the center.

If you have only folded the top pages in step 8, then after turning it over,
you will be repeating on the back what you have just done on the front.

>Step 10 shows that you open the flap. There is no flap if you leave the
>corners folded to the center. So i make the corner folds then i unfold the
>corners and now there is a flap like the picture in step 10.
>You then fold this flap upwards.

At this point, the folds you did in step 9 are "reversed".  That is, the
creases you made are used to fold those sides in, as you lift the top paper
to the position in step 11.  On the back side, you still have the folds you
did in step 8.
>
>At this point i'm a bit confused but not too badly and i blunder onward.
>
>Steps 11 and 12, at this point i'm toast. Somewhere in these steps I should
>end up with a long diamond shape. (i just don't see how).

That is because the photos skip and cheat.  Essentially, with the creases
you make in steps 8 and 9, you flatten a rhombus on the front and one on the
back. Between the two will be the center corner of the paper, which is that
top point you folded down in step 8.
>
>I have a book called Classic Origami by P.D. Tuyen. It also has a crane
>fold but it's even more confusing. It's quite a bit different in the
>folding than the one above.   Apparently there's more than one way to skin
>a cat. ( i think i've just about used up it's nine lives) <sigh>.
>
Jim, don't be disheartened.  This is the step that gets everyone the first
time!  This sequence is not the one I use to fold a crane -- it seems
inefficient to me, but it will get you there.  I don't own the Tuyen book,
but I recall it being a bit more efficient/elegant in folding.

>I think I should have stuck to basket weaving <chuckle>

Please don't do that!  Add origami in!
>
>Any help would be greatly welcomed.

Points to remember: at step 7, you have what is called a preliminary base.
That is the square turned on point as you see in step 7, but it has 2
"pages" on either side of the center diagonal crease.  You work these pages
separately to form symmetrical sides of the crane, the top pages right and
left form one side, and the bottom pages right and left form the other side.

At step 11, what you are seeing is the rhombus shown on the top, but if you
turn the model over, you will see the folds of step 8 still in place.  You
are going to flatten each side to the rhombus, and it doesn't make any
difference what order you do it in.

Trying to verbalize (especially in writing) the steps in origami is not very
efficient either, but I hope this helps some.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 16:37:55 -0300 (ADT)
From: "Beverly D. Chiu" <beverly_chiu@mindlink.bc.ca>
Subject: Re: Fuse Boxes: Book Recommendation?

I've enjoyed reading the responses so far on this topic .. thanks everybody!

>It is essential, when referring to Tomokos's books without the Japanese
>characters, (and that is impossible in Origami-L) to quote the ISBN numbers.

Here are the ISBN numbers for two of the books in question:

Title: Origami Boxes
ISBN:  87040-821-6

Title: Joyful Origami Boxes
ISBN:  87040-974-3

This is the only information I have on the third, which is a gift kit
containing the book and paper:

Title: Quick & Easy Origami Boxes
       61 pages, spiral bound
       Kit includes book (4.5" x 6") and 3 packs of paper

>She has written over thirty titles ...
>Dear Tomoko!  However does she manage it?

If anyone knows of an on-line biography of Tomoko Fuse, I'd be very
interested .. like, how old is she? does she teach at a university? how did
she get involved in origami? who were her teachers? what is she like?
However *does* she manage it??

Bev

***************************
Beverly D. Chiu
beverly_chiu@mindlink.bc.ca
Langley, B.C. Canada

Voice: (604) 533-3328





Return-path: <origami-l@nstn.CA>
Date: Mon, 02 Sep 1996 17:44:34 -0300 (ADT)
From: jdharris@post.cis.smu.EDU (Jerry D. Harris)
Subject: Wet-Folding + Questions

Hello Everyone! -

        Well, over the last few weeks, I've been experimenting with
wet-folding for the first time and -- well, I'm in love!  What a fabulous
technique!  I've never seen models quite so sturdy before! I'm a complete
convert; I think I'm going to have to abandon tissue foil for wet-folding
to make all my display-quality models.  I'm using Marble paper; a local
paper shop:

Paper Routes
404 Exposition Ave.
Dallas  TX   75226
(214) 828-9494
Fax:  (214) 828-9440

(thanks to Bill Hall for introducing me to this place!)

has a variety of colors of this paper in stock, at about $3 for a sheet
approx. 27" x 39.5' (is that a good price?)  The lady there, who is clearly
very knowledgeable about paper, says that it is virtually identical to the
Elephanthaut other people on this list have mentioned.  Anyway, my first
few attempts at wet-folding were...well, not failures, but also not
successes, really. I think my problem was that I was keeping the paper too
wet.  My current models with it are quite wonderful!  I've made Crawford's
"Unicorn" and Lang's "Stag Beetle," as well as a couple of my own
creations.  I'm currently making Issei's "Skeleton of Tyrannosaurus rex"
from the paper (each square 25 cm), which, when assembled, I plan to donate
for the auction at this year's Society of Vertebrate Paleontology
convention in New York City (which I will, unfortunately, not be able to
attend)!  I hadn't seen it mentioned here (although I can't imagine I'm the
first one to come up with this!), I've been using small- and medium-sized
binder clips to hold the models together at various points until they dry.
This really works very, very well, and doesn't leave any serious marks that
I can see!

        I do have a question, though, for those persons with more
experience with wet folding than I:

        *  Since the Marble paper is monochromatic, same color on both
sides, is there a way of coloring one or both sides of the paper
differently to make models which require color differences (for example,
Montroll's "Zebra") without compromising the nature of the paper?  I'd love
to have some of this stuff white on one side and black on the other, as
well as a variety of other color combinations and variations.

        One other, not really related, question, too, if I may:

        *  Does anyone know if the "Chess Pieces" created by Max Hulme, as
featured in the photo on p. 53 of his BOS booklet _Selected Works
1973-1979_ has been diagrammed and, if so, where?  I think it's a fabulous
looking chess set, and I'd love to be able to make a set (wet-folded, of
course!)  8-)

        Thanks in advance to anyone who can help!

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, 2 Sep 1996 18:43:23 -0300 (ADT)
From: "Ole A. Nielsen" <nielseno@knot.queensu.ca>
Subject: Washi vs. Chiyrogami

Hello everyone,

A question which has been bothering me for a while now: Is there a
difference between washi and chiyrogami, or are they just two different
names for the same thing?

Janet





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 18:48:22 -0300 (ADT)
From: "Ole A. Nielsen" <nielseno@knot.queensu.ca>
Subject: question and challenge!!

Hi,

I just came back from a week long canoe trip in southern Ontario, and had a
wonderful idea for an origami model: a "canoe head" (a person carring a
canoe, usually on a portage). Has this been done? If not, it would be a
wonderful challenge to make this out of one sheet of paper.
Good luck!

Janet Nielsen





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 19:25:32 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: cranes mailed to Hiroshima

>Hi Cathy
>Fred Small is a folk singer.  The song is basically a recounting of the 1000
>paper Crane story.  His albums(cds and cassettes) can be ordered from Flying
>Fish Records, 12304 W Schubert, Chicago, IL, 60614  (312) 528-5455.  I had
>the album with The crane song on it but of course I can't find it in this
>origami rubble that occupies my house!  :-)   Barbara

Many thanks, Barbara.  I will try to find it in Montreal first as ordering
from the States can be a real pain sometimes.  I have had a lot of success
with one particular store which seems willing to go the extra mile for their
clients, and they may be of help to me here.  The name seems familiar
somehow, but I can't place it.

            Cathy





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 19:25:15 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: No Copyright in People's Faces.

>..........................
>There is however, another reason why publishers obtain clearance from the
>subjects of photographs. This is not a matter of law, but of discretion. Let
>me illustrate with just one instance. A famous (or not so famous) person
>decides to visit a nudist resort. While there, the local newspaper comes
>round to "do" a feature on the resort. To illustrate their article, the
>reporter and his photographer take photographs of the members enjoying
>themselves in the sunshine. .....................................

Our local newspaper runs a feature once a year in which they present several
ethical dilemmas which they  or other newspapers had to deal with.  They ask
the public for their thoughts on whether or not they should print certain
articles or photographs.  I suspect they do this to get a feel for what
their readership will tolerate.  Anyway, one interesting photo which was not
published showed a happy looking child at a ball game with his father.  The
reason for not publishing?  It was a working day and the father had called
in sick.

                                                            Cathy





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 19:25:47 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Thanks, Em!

>PenneyA@aol.com wrote:
>
> The points are not long enough to interlock!!  Anyone
>> got any ideas for me?
>>                                Penney
>
>I must admit that I haven't been able to get them to interlock either; I
>either put the finished flower in a brandy snifter, and that holds it
>'closed', or (may Heaven forgive me) I tape them shut (blush, hide
>behind the couch).
>
>Shalom LeVine
>fatboy@main.aquanet.co.il
>
>
>
>Another idea for finishing the rose (not ideal, but hey!) is using a hot
>glue gun.
>Janet
>

And all this time I thought it was just me!!!!!!!This listserve is doing
wonders for my sanity.

                                                Cathy





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 19:25:03 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Origami Convention pack.. "

>Hi everyone.  I just received my origami convention pack.

What are these packs?  Am I missing out on something I should know about??!!

    Cathy





Return-path: <origami-l@nstn.ca>
Date: Mon, 2 Sep 1996 20:30:12 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Wet-Folding + Questions

On Mon, 2 Sep 1996, Jerry D. Harris wrote:

> I hadn't seen it mentioned here (although I can't imagine I'm the
> first one to come up with this!), I've been using small- and medium-sized
> binder clips to hold the models together at various points until they dry.
> This really works very, very well, and doesn't leave any serious marks that
> I can see!

Various types of clips can be used, as desired. I like using the wooden
spring-loaded clothespins myself.

>         *  Since the Marble paper is monochromatic, same color on both
> sides, is there a way of coloring one or both sides of the paper
> differently to make models which require color differences (for example,
> Montroll's "Zebra") without compromising the nature of the paper?  I'd love
> to have some of this stuff white on one side and black on the other, as
> well as a variety of other color combinations and variations.

Jeremy Shafer has successfully coloured marble paper before. He did not,
however, wet-fold with it, as far as I could tell. I'm not sure how to
proceed with this problem. A water-based colouring would run when the paper
was wetted, but an oil-based one might change the absorptiveness (?) of the
paper, reducing its usefulness for wet-folding. Besides, I would suspect
that a model like Montroll's "zebra", with all of its exposed raw edges and
multiple layers, would be a royal pain to wet-fold. Oh, and contrary to
what I have said before, it IS possible to wet-fold with kami if you're
really careful with it.

          Joseph Wu           For me, a poem is the crossroads of my thoughts,
  origami@planet.datt.co.jp   my feelings, my imaginings, my wishes and my
 Webmaster, the Origami Page  verbal sense: normally these run parallel.  Often
http://www.datt.co.jp/Origami two or more cross. But only when all cross at
 Webmaster, DATT Japan Inc.   one point do you get a poem - Bash! Whop! Klok!
    http://www.datt.co.jp     Doing! - Poem, Yippee!   --Philip Larkin, poet.
