




Return-path: <origami-l@nstn.ca>
Date: Thu, 12 Sep 1996 22:06:30 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re:: Butterfly Balls and Bombs.

>
>-------------------------------------------------------------------------------
>
>> The name of "Butterfly Bomb" still sends shudders down my spine. During the
>>last war, Grimsby, where I still live, was the target for a new type of
>>experimental air raid. Goering's air force, the Luftwaffe, decided to try out
>>their new anti-personnel bombs and considered that Grimsby and the adjoining
>>town of Cleethorpes would be an ideal target The bombs were quite small, only
>>about seven or ten pounds in weight, but they had a cover which opened out to
>>form two rotary wings, like a propellor, so that the bombs descended down
>>slowly, fluttering like maple seeds or butterflies..........>These bombs
>were immediately called "Butterfly Bombs" from the way they fluttered down
>
>My mother once told me of a bomb that killed a lot of children because it
>was attractive to them.  Is this what you mean?  I think they were also
>featured in a TV show--UXB.
>
>
>                                    Cathy





Return-path: <origami-l@nstn.ca>
Date: Thu, 12 Sep 1996 22:07:39 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: : Enterprise

>
>-------------------------------------------------------------------------------
>>With due apologies to the creator, a neophyte like me couldnt follow the
>>hand-written instructions for the enterprise model. Does ANYONE out there
>>have a better version in postscript or acrobat.
>>Thanks,
>>Priya
>
>
>You are not alone--I'm stuck on the second page...sigh....
>
>                                                                Cathy





Return-path: <origami-l@nstn.ca>
Date: Thu, 12 Sep 1996 22:10:51 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re:  Re: aroma'd origami

>
>>Did you know that vanilla is a very calming scent (they think because vanilla
>>is a component of mother's milk... very soothing and comforting) -- I would
>>imagine you could even scent things with some vanilla extract... mobiles, or
>>flowers and birds...
>>
>>Dee
>
>Hmmmmm...Would soaking a classroom in vanilla do any good?   Or maybe it
>would be enough to dump some into my own desk....I could use a little
>soothing and comforting!!!!!
>
>
>            Cathy





Return-path: <origami-l@nstn.CA>
Date: Thu, 12 Sep 1996 22:28:11 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.UK>
Subject: Re: boxes or models that change

Sheldon Ackerman <ackerman@dorsai.dorsai.org> sez

>I seem to recall a model called cube to tube. That model changes from the
>shape of a cube to rectangular prism (I think that's what it's called :-)

Bob Neale is noted for using this as part of his magic routine, but his
was cut. Myself & Dave Mitchell both came up with a modular version and
displayed it at the same convention! I hate to admit that Dave's was a
tad more elegant than mine. I never drew diagrams, but might have a
bash.

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/
DART homepage   http://www.shef.ac.uk/uni/projects/oip/dart/index.html
RPM homepage    http://www.rpmrecords.co.uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 12 Sep 1996 23:53:47 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: OrigamiUSA's Special Folding Fun (was Re: Hello?)

On Sep 12, 1996 21:53:54, 'PenneyA@aol.com' wrote:

>Hi Marc,
>I got a flyer from ousa that you are teaching an origami helicoper .  Is
this a
>diagram you might share with us on this listing?  Unfortunately Michigan
is too
>far to attend these sessions, darn.

Thank you for your interest in this class. I have no immediate plans of
posting any of my diagrams, as I am waiting for the arrival of Freehand 7
(the drawing program I use), to make this easier. If the model goes over
well, there is a good chance the diagrams will appear in the next Annual
Collection. I still feel bad about activities such as Special;Folding Fun
Sessions being geared towards the local OrigamiUSA members. I remember in
the past, for the more technique oriented classes, there were kits offered
for those who could not attend. I think it would be a good idea to
implement that again whenever possible (a lot of the burden would be on the
teacher to provide the kits, and permission must be obtained to distribute
diagrams). Perhaps for the more model oriented classes, a certain number of
technical support hours could be purchased (okay, perhaps I am taking this
a bit too far). Seriously, I will bring this up to the coordiators of the
event, to see how feasible all of this is.

Marc





Return-path: <origami-l@nstn.ca>
Date: Fri, 13 Sep 1996 01:20:51 -0300 (ADT)
From: vann@tredgar.cardiff.com (VAnn Cornelius)
Subject: Re: BOS Magazine 178 June 1996

> Any overseas BOS members reading this, could you please confirm that you
> have received your June issue of the magazine. I would be very grateful
> if you could spare a moment to let me know either way.

        Hi, Penny, I've received June and August.

        V'Ann





Return-path: <origami-l@nstn.ca>
Date: Fri, 13 Sep 1996 18:09:14 -0300 (ADT)
From: cathypl@generation.net (Cathy Palmer-Lister)

Hi!

        I got mysteriously disconected form the list for awhile.
Strange--Some seem to have trouble getting unscribed, and some can't seem to
stay on board!

        Anyway, I wanted to let you know that my butterfly friendship
priject is off to a flying start.  My class folded butterflies which they
presented to the kindergarten children to welcome them to school.  They also
thought of giving them to the new staff members, which I thought was rather
nice of them.  Maybe the butterflies are doing their thing already!

            Cathy





Return-path: <origami-l@nstn.ca>
Date: Fri, 13 Sep 1996 20:55:50 -0300 (ADT)
From: Gordon Crane <gordonc@mnsinc.com>
Subject: Re: Warabe Ningyo Kit

rita wrote:
>
> My sister returned from a vacation in Japan with an origami (?) kit to make
> folded dolls.  I am very much a novice at folding but I'd like to give it a
> try.  If anyone has seen these kits I would be interested in hearing from
> you.   I was curious about the dimensions of the paper to start out with,
> they seem a little odd given the size of the paper  included in the package.
> Also are the kits available in the USA.  (Once I figure outthe diagram, I
> guess it just a matter of using my  own paper.)
>
>  Any helpful hints would be greatly appreciated.  The good news is that she
> also brought home a few finished products, so I know what it's ultimately
> supposed to look like.  Thanks in advanced.  I look forward to your
> comments.  Rita.

Hi:  This is Kimberly Crane from Kim's Crane,
http://www.mnsinc.com/gordonc and we do carry several diverse kinds of
Warabe Ningyo doll kits.  I enjoy making the dolls but do find the
instructions and provided papers to be a challenge in the construct of a
doll.  I usually go to one of my origami books to reference what a
finished doll should somewhat look like.  I do not think I have every
completed a doll according to the instructions.  Yes, in construction of
a doll from one of the kits, I always seem to have paper left over no
matter how close I try to follow the instructions.  I keep wondering
where I went wrong but finally give up and just feel smug that I perhaps
got a little extra paper for my money!

Kimberly





Return-path: <origami-l@nstn.ca>
Date: Fri, 13 Sep 1996 22:00:05 -0300 (ADT)
From: Rachel Katz <mandrk@pb.net>
Subject: Re: Butterfly ball/business cards

The butterfly ball works quite well when made from business cards
(cut into squares) . The stiffness makes them a little easier to
handle when putting together, but harder to fold the initial creases.

Jeanine, did you have any idea what an explosion you set off with
your business card modulars?!!!  At last I've found a use for all the
cards (greeting, decks of cards etc.) I've never been able to throw
away. It's opened up a whole new world of origami.

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





Return-path: <origami-l@nstn.ca>
Date: Sat, 14 Sep 1996 11:45:51 -0300 (ADT)
From: "Pam, Namir, or Dima" <pgraben@umich.edu>
Subject: Shadows/Paper color

Hey all.  Another aesthetic question to bounce around the ol noggin.

     Every now and then, I've come across a model that is slightly (or more)
     dependent
on how the light plays on the various surfaces of the model.  The shadows "play
     up"
the desired 3-Dness of an otherwise 2-D model.   For instance, a totally round
     octopus
or elephant is very obviously 3-D (if intended), whereas a 2-D model that tries
     to be #-D needs a little help.
    Like JC Nolan's Braided Paper.  I made a large one and was wondering how
 the shadows will play up the braids part away from the background.  This leads
     me to
subject: should light or dark colored paper be used?  Like white or a darkish
     green?
I finally picked white with gold speckles and it looks really cool, and with a
     desired
shadow effect.  Currently I am trying this with "Reading the Paper" by Herman
     van Goubergen, and find many shadows to be exploited.  I'm thinking of a
     lighter color.
Has anyone tried or experienced something similar?


     -Namir
!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
     !-!-!-!
Pamela Graben:     Thinking... what a concept!
Namir Gharaibeh:  "If you choose not to decide, you still            have made
     a choice."
Dima Gharaibeh:   So what do you think of my Buddha?
          pgraben@umich.edu





Return-path: <origami-l@nstn.ca>
Date: Sat, 14 Sep 1996 16:11:02 -0300 (ADT)
From: James_Sakoda@brown.edu (James M. Sakoda)
Subject: Re: Shadows/Paper color

>Hey all.  Another aesthetic question to bounce around the ol noggin.
>
>     Every now and then, I've come across a model that is slightly (or
>more) dependent
>on how the light plays on the various surfaces of the model.  The shadows
>"play up"
>the desired 3-Dness of an otherwise 2-D model.   For instance, a totally
>round octopus
>or elephant is very obviously 3-D (if intended), whereas a 2-D model that
>tries to be #-D needs a little help.
>    Like JC Nolan's Braided Paper.  I made a large one and was wondering how
> the shadows will play up the braids part away from the background.  This
>leads me to
>subject: should light or dark colored paper be used?  Like white or a
>darkish green?
>I finally picked white with gold speckles and it looks really cool, and
>with a desired
>shadow effect.  Currently I am trying this with "Reading the Paper" by
>Herman van Goubergen, and find many shadows to be exploited.  I'm thinking
>of a lighter color.
>Has anyone tried or experienced something similar?
>
>
>-Namir
>!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!
>-!-!-!-!-!-!
>Pamela Graben:     Thinking... what a concept!
>Namir Gharaibeh:  "If you choose not to decide, you still
>have made a choice."
>Dima Gharaibeh:   So what do you think of my Buddha?
>          pgraben@umich.edu
>!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!
>-!-!-!-!-!-!

        In my hikari-ori (hikari is light and ori means fold), which are
folded geometric patterns with low relief, light and shadows play an
inportant part in perceiving the geometric patterns.  By changing the
source of light or by moving in front of the folded and framed  pattern it
is possible to change the view one gets due to changes in the locations of
dark and light patterns.  By making a mobile of five or six folded paper it
is possible to allow the movement of the patterns to provide the needed
change, a good arrangement to view when one is in bed, for example.  I have
found that foil paper provides the best reflective medium rather than paper
and that dull shades of light colors, such as silver and gold, are the
best.  OUSA now carries foil paper in dull shades.  I have shown samples at
OUSA conventions in the past, but have not published any of the designs.
The British Origami Society published an article some years ago comparing
my approach with that of Fujimoto, the expert on twist origami.  If I ever
get my Web page up I can present some samples and perhaps some instructions
for folding a few patterns.  James M. Sakoda.





Return-path: <origami-l@nstn.ca>
Date: Sat, 14 Sep 1996 22:38:52 -0300 (ADT)
From: Steve Arlow <yorick@conch.aa.msen.com>
Subject: Re: Butterfly ball/business cards

"Rachel Katz" <mandrk@pb.net> writes:
>
>Jeanine, did you have any idea what an explosion you set off with
>your business card modulars?!!!  At last I've found a use for all the
>cards (greeting, decks of cards etc.) I've never been able to throw
>away. It's opened up a whole new world of origami.

Indeed, I'm making use of the stack of my own from before the 313
area-code split...  :)

  -- Steve

--
"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: Sat, 14 Sep 1996 23:12:07 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: Shadows/Paper color

>     Every now and then, I've come across a model that is slightly (or
more) dependent
>on how the light plays on the various surfaces of the model.  The shadows
"play up"
>the desired 3-Dness of an otherwise 2-D model.

Paul Jackson has done quite a bit with shadows.  I can't remember right off
hand which of his books goes into it, but his "one fold" origami (which he
taught at an OUSA convention a few years ago) plays on the shadows created.

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 00:17:22 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: OrigamiUSA's Special Folding Fun (was Re: Hello?)

Here is another suggestion.  Since OUSA has a lending library, why don't they
video some of these models being created and then make them available through
the library?  I would think it would be fun to see a class in action since I
have never been to the convention.  Maybe next year, I really, really want to
attend.
             Thanks anyway
                         Penney





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 01:38:43 -0300 (ADT)
From: MJNAUGHTON@amherst.edu
Subject: Butterfly Ball Constructions

Hi everyone,

On the subject of constructing butterfly balls, David Lister wrote:
>>  I think my only hope would be a structured and integrated combination
>> of sticky tape, paper clips and "bobby pins". . . .I think use of such
>> artificial devices would be quite against the spirit of Our Art and
>> somehow would be surrendering our Noble Principles.
I think one of the sources of origami's popularity is achieving results
within specified limits (start with a square, no cutting, etc.), and it
also allows each of us to decide what our own limits are. I treasure a
"A snip here and a snip there are all right, but when you snip and snip
and snip and snip -- well, that's not paperfolding!" On the other hand,
I have heard Robert Neale, the legendary modularist, recommend both
paper clips and masking tape for securing models during construction, and
I myself have also had good luck with doll's cloths pins. My personal rules
are: avoid them when possible, and always remove them completely from the
final model.

Steve Arlow wrote:
>> All this talk of Butterfly Bombs got me thinking about other
>> modulars that would work the same way.  If you omit half of the
>> orthogonal crease of the unit, you get something that still looks
>> a little like a butterfly, and can be assembled into a
>> rhombicuboctahedron (instead of the usual cuboctahedron . . .
>> I think that 24 units are required . . .
>> This model (I've built only one) cannot be assembled without
>> drafting tape, and even when completed is *extremely* fragile.
and Jeannine Mosely replied:
>> I made this model about a year ago, but I found it much too fragile
>> to be at all satisfying.
I, too, have made exactly one of these, and construction is not for
the timid or impatient. My own model could not be set down without
support (I constructed some Sonobe cubes to prop it up), and in my
mind its greatest attraction was in proving it could be done. However,
Rachel Katz's suggestion of using business cards cut into squares might
work well here. (btw, it _does_ take exactly twenty-four modules)

Mike Naughton





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 01:59:26 -0300 (ADT)
From: MJNAUGHTON@amherst.edu
Subject: Sonbobe Modulars

Hi, everyone

The recent postings concerning the Sonobe module have caught my attention.
I have taught a workshop at the OUSA (formerly FOCA) Convention for the past
few years in this module, and it has been one of my particular interests in
origami. Perhaps I can offer something to the discussion:

Carol Hall: One of the interesting things about this module is how hard it
is to find out its true history (at least for me!). From what I can tell,
it was actually invented by Mitsonobu Sonobe, who used it to construct the
six-piece "Sonobe cube". He may also have invented other constructions,
including the 30-piece  "stellated icosahedron", although I also have some
evidence that this was invented (independently?) by an American. Toshie
Takahama seems clearly to have invented the three-piece hexahedron (or
"Jewel"), published in Eric Kenneway's "Paperfolding for Fun". I think some
confusion may have been started by FOCA itself: when I first encountered the
module there (in the early eighties), all constructions were referred to as
"jewels" (e.g. "three-piece jewel", "twelve-piece jewel", etc.), and no
mention was made of Sonobe, anyone not knowing better might easily believe
that Toshie Takahama has invented them all. Your puzzle gift sounds great! Am
I correct that the "snake" you included is the one that I teach at the OUSA
Convention? I believe I am the creator of that model. (see below)

Steve Arlow: Your ASCII diagrams are great! Good job! One quibble, however: in
Steps 7 & 8 you imply that mountain-folding the corners is necessary. In fact,
it is not. There are a couple of points to be made here:
1) if we assume that the three final creases that you show in these steps are
the only possibilities, and if we further assume that each can be done in three
ways (mountain, valley, and "no crease), and if we eliminated duplicates and
mirror images, we end up with ten distinct crease patterns, which I have
diagrammed and handed out in my workshops (interested parties may send me a
#10 SASE and I will mail them a copy - send your request to "Michael Naughton,
P.O. Box 239, Lake Pleasant, MA, 01347". (Note to those who believe that
creators should be well-compensated for their efforts: please fee free to
include lots of money with your request! :-) This handout also lists a number
of constructions which can be made from these patterns. If I do say so myself,
there's a lot of information here! 2) These are not the only places where
creases may be placed! Have fun! Experiment! Tom Hull, in particular, has done
some wonderful things with creases in other places. Re: your question to Carol
Hall about "snake" connectors: yes, they are the same module. The "snake" is
made of eight connnected "jewels" in a "M" (or is it "W") pattern, and it takes
twenty-four units, so we still have an average of three units per jewel.
Congratulation on your 90-unit model! I've done one myself, but it was kind of
floppy when it was done. Brett Askinazi: The four-unit construction is a flat
"mat" - Carol Hall is correct - as is the two-unit. Twelve- and twenty-four-
unit constructions are commonly thought to be cubes, but there are others
that can be made as well (see my handout)

Douglas Zander: I have tried to combine "right" and "left" handed modules, but
without success. I believe Rona Gurkewitz is correct: this only works when the
modules are bases on equilateral (as opposed to merely isosceles) triangles.
NB: with equilateral triangles, you can combine two of opposite handedness to
make a tetrahedron.

Mike Naughton





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 10:16:21 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re:origami magic

We have never had a discussion of origami magic tricks.  I do many and
consider the butterfly ball one of them.  Then there  is the rising pointer,
Neale's star,  the balancing trick on the finger, the changing flexagons, the
dollar bill that won't unfold without tearing and others. I show a series of
these at the end of all of my performances and it is a great ending.  Perhaps
some of you will share with us some of your favorite origami magic tricks.
 Of course to me all of origami is magic but some  are better for performance
than others. Dorigami.





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 12:33:13 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: Sonbobe Modulars

>Your puzzle gift sounds great! Am
>I correct that the "snake" you included is the one that I teach at the OUSA
>Convention? I believe I am the creator of that model. (see below)

> we end up with ten distinct crease patterns, which I have
>diagrammed and handed out in my workshops (interested parties may send me a
>#10 SASE and I will mail them a copy - send your request to "Michael Naughton,
>P.O. Box 239, Lake Pleasant, MA, 01347". (Note to those who believe that
>creators should be well-compensated for their efforts: please fee free to
>include lots of money with your request! :-) This handout also lists a number
>of constructions which can be made from these patterns. If I do say so myself,
>there's a lot of information here!
>Mike Naughton

Glad you like the puzzle gift idea, Mike!  You are right, the "snake" I
learned from your class at a convention some years ago.  I don't recall you
claiming the design at the time, but my memory can be faulty so I'm pleased
to give you credit now! (My notes on the 'snake' are hand-written in the
margins of your handout - have you included it in subsequent versions?)

Let me add an endorsement for Mike's handouts - they are a great reference.
(and I believe they were included in the '91 convention annual ? - correct
me if I am wrong, please).

So here is a question regarding credit: if we make a modular masterpiece
built of these units, what should we say regarding the originator?  If it is
a 6-unit cube, Sonobe; a 3-unit jewel, Takahama?  And what of the infinite
other variations?  Should someone want to obtain permission from the creator
for whatever reason, who to ask?

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 14:59:26 -0300 (ADT)
From: JENEVOLD@aol.com
Subject: Re: hikari-ori

In a message dated 96-09-14 16:45:01 EDT, James Sakoda writes:

<< I have shown samples at
 OUSA conventions in the past, but have not published any of the designs.
 The British Origami Society published an article some years ago comparing
 my approach with that of Fujimoto, the expert on twist origami.  If I ever
 get my Web page up I can present some samples and perhaps some instructions
 for folding a few patterns. >>

I would love to see your designs, James.

Julie
jenevold@aol.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 15 Sep 1996 17:11:50 -0300 (ADT)
From: wallylynn@juno.com (Walter Lin)
Subject: location of rose diagrams and at the bottom, *unsubscribing*

I guess that there are a few of us who aren't finding the .incoming
directory at the archives.  To clarify a bit:

for people who can't wait: (I can't be sure this works, but you hasty
people know what you're doing, right? ;)
        ftp ftp.rug.nl/origami/.incoming
        ftp://ftp.rug.nl/origami/.incoming

for those who want more detail (like me)
1. ftp to the archives (I believe "ftp.rug.nl").  Depending how
        ftp ftp.rug.nl (via ftp program at shell prompt)
        ftp://ftp.rug.nl (via web browser, open location)

2. change (enter) origami directory
        cd origami
        (click origami or add "/origami" to location)

3. change into ".incoming" directory, yes include the dot
        cd .incoming
        (add ".incoming")

4. get diagrams
        shell people, type "ls" to see a listing, they should be rose1.ps
.. rose5.ps
        make sure you're using binary mode "bin", maybe "hash" to see the
transmission
        if it says ascii transfer, stop it at once and try again in
binary.

        web people, click on it.  If it brings up a save prompt great, if
not try holding
        down the <SHIFT> button and then click.

I hope this is all correct and helps.  I don't have a real internet
connection yet so I can't test it now.  It's from what I remember at
school.  Directions, yes. specfic directories and web browser commands,
no.
----------------
Chris M Fowler and others who want to unsubscribe,

in a letter to "listserver@nstn.ca"
write "unsubscribe origami-l" in both the subject *and* the body

Different listservers have different requirements so I recommend both to
make sure.
Substituting "help" will get you a reply with general list information
and commands.





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 04:17:41 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: New Origami Book

Stopping by the Kinokunya bookstore pays off occasionally. Last Friday I
found copies of a new book by P.D. Tuyen called "Wild Origami". It's put
out by Sterling Publishing, and is an english version of a text that was
originally published in Germany.

The Book is divided into 8 Basic Forms, and each form is used to create
different models. The 19 models included are:

Basic Form 1: Dragon Boat, Bird, Hedgehog
Basic Form 2: Sea Horse
Basic Form 3: Eagle, Bear, Kangaroo, Pig, Dinosaur
Basic Form 4: Butterfly, Bee
Basic Form 5: Dachshund, Lion
Basic Form 6: Frog, Lobster
Basic Form 7: Snake, Caterpillar
Basic Form 8: Crab, Ant

For anyone familiar with Tuyen's earlier book "Classic Origami", the new
models share that same angular, stylized presentation found in his previous
work - maybe something like Origami done by a young Picasso?

Book is about 8.5 x 10.5 inches, cost is $12.95, and the drawing all appear
to be done by hand and colored with stencils. Overall a very nice
presentation!

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 10:04:11 -0300 (ADT)
From: Bruce Stephens <stephens@math.ruu.nl>
Subject: Winson Chan's diagrams for Kawasaki's rose

There seem to me to be a couple of mistakes:

steps 13-16 presumably have to be repeated 4 times

steps 24 and 25 seem inconsistent.  I think 24 is wrong, and the
horizontal fold should be a square further down.

I find 15 and 16 pretty incomprehensible: I just can't see what's going
on.  Also, doing the inside reverse folds in 24 seems to cause the
outer doubled petals (the outermost ones which have a folded edge
uppermost) to balloon out.  I fix this by tucking the extra away before
doing the outside reverses, but perhaps I'm doing something wrong?

All in all, though, they're excellent diagrams for a lovely model:
surely a better version than the one in OftC, which is already
something of a classic.

I look forward to Kawasaki's book.

--
Bruce Stephens           | email: B.Stephens@math.ruu.nl
Utrecht University              | telephone: +31 30 2534630
Department of Mathematics       | telefax:   +31 30 2518394
P.O. Box 80010, 3508 TA Utrecht, The Netherlands





Return-path: <origami-l@nstn.CA>
Date: Mon, 16 Sep 1996 10:25:55 -0300 (ADT)
From: Brett Askinazi <askinazi@i1.NET>
Subject: Re: Shadows/Paper color

>     Like JC Nolan's Braided Paper.  I made a large one and was wondering
how
>  the shadows will play up the braids part away from the background.  This
leads me to
> subject: should light or dark colored paper be used?  Like white or a
darkish green?
> I finally picked white with gold speckles and it looks really cool, and
with a desired
> shadow effect.  Currently I am trying this with "Reading the Paper" by
Herman van Goubergen, and find many shadows to be exploited.  I'm thinking
of a lighter color.
> Has anyone tried or experienced something similar?

I've made that model once, out of Dark Blue Kami.  And I always told myself
that if I were to make it again it would be a lighter color.  The braid
just didn't stand out enough.

Brett
askinazi@i1.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 11:43:46 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: location of rose diagrams and at the bottom, *unsubscribing*

Walter Lynn wrote:

   I guess that there are a few of us who aren't finding the .incoming
   directory at the archives.  To clarify a bit:

   for people who can't wait: (I can't be sure this works, but you hasty
   people know what you're doing, right? ;)
           ftp ftp.rug.nl/origami/.incoming

I got the message: ftp.rug.nl/origami/.incoming: unknown host

           ftp://ftp.rug.nl/origami/.incoming

   for those who want more detail (like me)
   1. ftp to the archives (I believe "ftp.rug.nl").  Depending how
           ftp ftp.rug.nl (via ftp program at shell prompt)
           ftp://ftp.rug.nl (via web browser, open location)

   2. change (enter) origami directory
           cd origami
           (click origami or add "/origami" to location)

It wouldn't let me do this.  It said I needed a password.

   3. change into ".incoming" directory, yes include the dot
           cd .incoming
           (add ".incoming")

   4. get diagrams
           shell people, type "ls" to see a listing, they should be rose1.ps
   .. rose5.ps
           make sure you're using binary mode "bin", maybe "hash" to see the
   transmission
           if it says ascii transfer, stop it at once and try again in
   binary.

           web people, click on it.  If it brings up a save prompt great, if
   not try holding
           down the <SHIFT> button and then click.

This information is helpful, but when giving directions to the
(nearly) clueless, please tell us how to get out there when we are
done.  ("Exit" doesn't work.  "Quit" does.)

   I hope this is all correct and helps.  I don't have a real internet
   connection yet so I can't test it now.  It's from what I remember at
   school.  Directions, yes. specfic directories and web browser commands,
   no.

Thanks.

        -- Jeannine Mosely





Return-path: <origami-l@nstn.CA>
Date: Mon, 16 Sep 1996 13:24:38 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.COM>
Subject: Re: location of rose diagrams and at the bottom, *unsubscribing*

I just got this mail from Doug Philips.  Thanks Doug, I tried it and
it worked for me!  Thanks also to Walter Lynn for his original
instructions.  While I couldn't get his "shell prompt" directions to
work, I did succeed with his "web browser" instructions.

        -- Jeannine Mosely

   Date: Mon, 16 Sep 1996 11:40:23 -0400 (EDT)
   From: Doug Philips <dwp+@transarc.com>

   Before I post a set of incorrect corrections, I thought I'd just send this
   directly to you for "beta testing"... ;-)  Feel free to post it if it works.

   +       ftp ftp.rug.nl (via ftp program at shell prompt)

   Then login as user anonymous, with your email address as the password.
   If your FTP program doesn't prompt you for a user name after it connects,
   use the command 'user anonmymous' and it should then prompt you for a
   password.  If you have a really old FTP  program, you'll have to manually
   invoke the password command too:  'pass <your email address here>'.

   +   2. change (enter) origami directory
   +       cd origami
   +
   +It wouldn't let me do this.  It said I needed a password.

   Maybe that was because of the above?  I have never seen that message under
   any circumstances, so I'm at a loss if the above stuff doesn't work.

   +   3. change into ".incoming" directory, yes include the dot
   +       cd .incoming

   Should work.

   +   4. get diagrams
   +       shell people, type "ls" to see a listing, they should be rose1.ps
   +   .. rose5.ps
   +       make sure you're using binary mode "bin", maybe "hash" to see the
   +   transmission
   +       if it says ascii transfer, stop it at once and try again in
   +   binary.

   The FTP commands 'ls' or 'dir' will show you the files in the that directory.
   The FTP command 'bin' will set your transfer mode to binary.
   The FTP command 'hash' will tell the FTP program to print a hash mark (#) for
   every block (512 or 1024 bytes depending on your system) transfered.  Without
   this the program will appear dead while the file transfers.  I've never
     gotten
   much above 7kbytes/second, and often not even that much, from rugcis.

   Use the FTP command 'get' to get the files.

   Once you have gotten all of them, use 'exit' or 'quit' or 'bye' to exit your
   FTP program.

   I found that I needed to edit the files after I got them, in order to remove
   a control-D character which will cause most postscript printers to ignore the
   file.  When I got the files there was a control-D as the first _and_ last
   character in the file.  Use  your favorite editor to remove them.

   -Doug





Return-path: <origami-l@nstn.CA>
Date: Mon, 16 Sep 1996 14:23:33 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.COM>
Subject: OUSA Convention Annual 1 of 2

OUSA Convention Annual 96: the Good News

It's bigger than ever, and the editorial staff has
done its (usual) outstanding job. The diagrams are
uniformly excellent, including all those hand
drawn by the model designers, and even the more
abbreviated ones. And I love the cover design and
color this year (the T-shirt and buttons are
outstanding, too!)

My picks for Origami Oscars 1996:

Geometrics/Modulars -
  Chris Palmer's 5 point star (square paper;
       several variations occur immediately)
  Jose Krooshoop's December Decoration
      (try this with 7 modules instead of eight,
       for a really "3D" decoration - great in foil;
       also a "pointier" variation: precrease all
       flaps as bird base and flower base; sink
       the two used bird base flaps along the
       flower creases to make sharper points;
       use 7 units; after assembly, depress the
       inner edge of the model concave around
       the center hole...)
   Jeremy Shafer's Two Interlocking Rings
       link multiple models into chains...

Box/Container -
   Mark Bolitho's Container (Cubical "Pot")

Representational/Sculptures -
   Marc Kirchenbaum's Teddy Bear "Fluffy"
        (I used 10 in. kami, and had
         to fake two of the closed sinks; still
         came out well - kudos to Marc from a
         former teddy bear collector!)
   Stephan Ansons' Swan
        (3 in. paper was fun)
   Robert Lang's Pegasus
        I used 10 in. kami and the front legs
        splay out without a paper clip. Foil
        would probably solve the problem. One
        of the best Pegasus' ever!

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 14:23:57 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: OUSA Convention Packs 96

My OUSA Convention Pack ("Sorry I Can't Attend
Pack) came Thursday!

Whoopee!

Beautiful T-Shirt and Button! Great
Paper! (the paper and foil hardly got bent
at all this year in shipping due to the better
packaging job). I love the big foil, as I
can't get this locally, so must mail order.
And I always keep the orange OUSA "trademark"
strip from the kami pack for a bookmark.

Bigger Book with outstanding models
(but see separate posts on this)!

One small quibble: laser and photocopies
use black powder ("toner") fused to the paper
by heat. Under pressure and/or heat, laser
printing or xerography will transfer from the
paper to an adjacent sheet, especially if the
printing has large black areas and if the
adjacent sheet is any kind of plastic. It might
be a good idea to put all the "hand-out" sheets
in a paper envelope before putting them in the
plastic portfolio. My copy of the "song", which
uses large very black lettering, is half
unreadable, because all the printing got
transferred to the inside of the portfolio!
Could someone post the Song text to the list?

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 14:24:07 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: OUSA Convention Annual 2 of 2

OUSA Convention Annual 96 - The Bad News

As usual the Annual is bound with a "Comb Binding",
one of those plastic ring things that looks sort
of like a spiral binding, with flat rings going
thru rectangular holes. Comb Bindings are
inexpensive, allow the book to open and stay flat,
and make it easy to add or replace pages, even by
hand, as long as the pages are pre-punched.

However:

The annual is now over 300 pages, over an inch
thick. This means the binder had to use an oval
"D" ring plastic comb for the comb binding. These
have never been very satisfactory for a number of
reasons. The first is that the pages tend to
interfere with each other at the narrow ends of
the ring, front and back, and start to tear and
bend along the narrow strip of paper between the
holes and the inner edge of the page. The problem
tends to esclalate as more pages get torn and bent.

At my office we've decided that for anything but
a short term volume (drafts, stuff nobody is really
expected to read, like regulatory submissions),
if the book is too thick for the maximum size
circular comb, we go to multiple volumes. The
really thick books also tend to fall over on
shelves, have the combs pop open, the weight of
the paper may even break teeth on the combs, etc.

The next problem is a quality control problem
with the binders: they're putting off replacing
dull punches, and we're seeing more and more
badly punched work. Also, they're trying to save
time (hence labor costs) by punching too many
pages at one time, even with the powered punches.

A hand comb punch can do about 15 pages at a time;
power ones can do more, depending on the weight
of the paper. Thicker stacks, even without a
worn and dull punch, result in pages crimped
together at the holes (then they tear unless you
carefully separate each page), oversized round
cornered holes, ragged and saw-toothed edges on
the holes, torn paper between holes and along the
back edge of the page, and pages that have very
thin back edges as a result of not being fully
in the punch or punched at an angle.

Worse, when the punch job has the above problems,
the pages begin to "interfere" regardless of the
comb shape: the back edges lock into the holes
of the adjacent page so some pages are further
forward than others (no smooth clean edge of the
book), pages get bent and torn, the books shed
paper dust and particles for weeks (if you have
to copy one, your machine will need a service
call), and the book becomes generally a real
pain to use. Also, many of the combs currently
manufactured have rough edges too, which just
compounds problems of badly punched holes.

We, and many of the other offices I've talked to
about these problems have begun putting copy shops
on notice that this kind of binding job is
unacceptable, and we will refuse delivery. In
a few cases where a deadline made it impossible
to have the job redone, it has been necessary
to redo it in-house.

Unfortunately, the Convention Annual 96 has one
of the worst comb binding jobs I've seen in some
time, with every one of the problems listed above.
One evening's use was an unpleasant, frustrating
struggle to keep the pages from tearing or
getting more badly bent or torn. It is really
unfortunate to have this happen with a book that
is meant to be used a lot and kept for a long
time.

I was able to alleviate the problem somewhat by
getting 2 one inch round combs and extra cover
stock and making the Annual into two volumes. But
it still is such a pain to use, I'm tempted to
copy the whole thing and re-bind it. The main
deterrent to that solution is that I'd have to
do it myself (the commercial copy shops won't
do copyrighted materials), and besides reimbursing
my company for the copies, it would probably mean
a service call on the copier, as it would be full
of paper fragments and dust. I may settle for
copying the models I like best.

I don't know yet what to suggest to OUSA for
next year's annual. I'm giving it (and have been
all weekend) some thought. At the very least,
I think it may be time to go multi-volume when
there are more than about 200 pages or an inch
thick book. And put the binder on notice that
a botched job will be refused. Perhaps a wire
spiral binding (though I'm not a big fan of
these) could be considered; or even a regular
glued binding, though these don't stay open
as well as either wire or comb bindings.

Any ideas, anyone? The annual staff has done
a great job of designing a book of diagrams
that is meant to be pleasant and easy to use
and be a valued permanent addition to a folder's
library. It is a very great shame to have that
spoiled by technical and QC problems with the
binding.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 14:38:02 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Butterfly ball/business cards

   "Rachel Katz" <mandrk@pb.net> writes:
   >
   >Jeanine, did you have any idea what an explosion you set off with
   >your business card modulars?!!!  At last I've found a use for all the
   >cards (greeting, decks of cards etc.) I've never been able to throw
   >away. It's opened up a whole new world of origami.

   Indeed, I'm making use of the stack of my own from before the 313
   area-code split...  :)

     -- Steve

Wow!  I usually get cards from people who leave their job or get a
promotion.  Occasionally a company moves (like the one I work for) and
that can make hundreds of boxes obsolete.  But just imagine if you
could collect *ALL* the left-overs from an area-code split!
Impossible, of course, but the mind boggles.

        -- Jeannine





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 17:59:27 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Butterfly ball/business cards

<<Area Code Split>>

Wow, yes! Northern California is about to
undergo a MAJOR split: SF Bay Area (north bay
is getting split off) and the *rest* of inland
north of Sacramento, which is getting the old
916 that used to cover nearly ALL of N. Calif
outside of the Bay/Silicon Valley. Several
million phones are getting new area codes...

--valerie





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 18:09:17 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: origami magic - kong!

DORIGAMI@aol.com sez

> Perhaps
>some of you will share with us some of your favorite origami magic tricks.

Not really magic, but my favourite trick is folding the "tarumpty
tumtum" (alias koton kong, tumbling man etc) & demoing it, then asking
the students to try it, but give it them wrong side up. You can usualy
foll them 4/5 times before they suss the answer, you then tell them to
try the trick on someone else!

I've got UUE diagrams for the fold if anyone wants them, please use the
word "kong" in the reply title, so my software can make replying
easier...

Just finished the BOS convention (zzzzzzzzzzz) and Joanne Ortman is
staying with me - my first ever guest from the States :)

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/
DART homepage   http://www.shef.ac.uk/uni/projects/oip/dart/index.html
RPM homepage    http://www.rpmrecords.co.uk





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 18:48:47 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Butterfly ball/business cards

   <<Area Code Split>>

   Wow, yes! Northern California is about to
   undergo a MAJOR split: SF Bay Area (north bay
   is getting split off) and the *rest* of inland
   north of Sacramento, which is getting the old
   916 that used to cover nearly ALL of N. Calif
   outside of the Bay/Silicon Valley. Several
   million phones are getting new area codes...

   --valerie

So you must be affected, right?  How about Robert Lang?  Jeremey
Shafer and the whole BARF crowd?

        -- Jeannine





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 19:28:51 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: origami magic - kong!

Nick Robinson wrote:
> I've got UUE diagrams for the fold if anyone wants them, please use the
> word "kong" in the reply title, so my software can make replying
> easier...

What a coincidence - someone was just describing the "tumbling man to me!  I
     would like to get a copy of the
UUE diagrams.

Janet Hamilton

--
mailto:Mikeinnj@concentric.net
http://www.concentric.net/~Mikeinnj/





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 19:42:20 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: OUSA Convention Annual 2 of 2

Valerie Vann wrote:
> And put the binder on notice that
> a botched job will be refused. Perhaps a wire
> spiral binding (though I'm not a big fan of
> these) could be considered; or even a regular
> glued binding, though these don't stay open
> as well as either wire or comb bindings.

The convention books didn't arrive from the printers until the Saturday morning
     of the convention slightly
after registration was supposed to have started.  We were asked to wait a
     little longer in line to get into the
convention while some strong backs were recruited to bring the books in.
     Otherwise, we would not have been
able to get our books at registration time.  There was no time for the OUSA
     staff to look over the quality of
the binding job or send books back.

I haven't really noticed that the book I got at the convention had all the
     binding problems you described -
maybe not all the books are like that?

Janet Hamilton
--
mailto:Mikeinnj@concentric.net
http://www.concentric.net/~Mikeinnj/





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 20:11:16 -0300 (ADT)
From: marckrsh@nyc.pipeline.com (Marc Kirschenbaum)
Subject: Re: OUSA Convention Annual 2 of 2

On Sep 16, 1996 14:24:07, 'Valerie Vann <75070.304@compuserve.com>' wrote:

>OUSA Convention Annual 96 - The Bad News

Thank you for your comments on the Annual Collection, both good and bad. We
like to maintain the reputation of having the best origami annual
periodical out there, so all comments are considered seriously. I agree
with your comments on the book being too big for  the binding used. The
truth is, this year's book ended up being about 70 pages more than previous
year's, a mistake we will make a strong effort to avoid. The size limit
will be the size of the 1995 Annual Collection.

Even at that size, the quality of the binding might be an issue for some
people (as for myself, being an infrequent user, all of my editions dating
back to 1981 are in great condition). If anyone has alternate suggestions
for binding, we certainly will listen. Price is still a big concern for us
(it is the only way we can get such a selection of models available at such
an accessible price), and we have liked the way comb binding allows for the
book to be opened flat. The Publictations Team is awaiting your
suggestions.

Marc





Return-path: <origami-l@nstn.ca>
Date: Mon, 16 Sep 1996 21:53:28 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: OUSA Convention Annual 2 of 2

Hi All -

        I haven't yet purchased the last couple years' worth of Annual
Collections, but I have a suggestion that might alleviate a few problems
all at once.  I know that OUSA is concerned with both cost and, at least
for a few years prior to now, was concerned about how to best organize the
book (ie, how to categorize models in the most efficient way).  More than
one compendium of great size in paleontology has gone the route of
producing books looseleaf:  providing the pages pre-punched for a 3-ring
binder.  In this way, the purchaser can organize the pages in a manner most
suitable for that individual.  It would also alleviate OUSA from the
necessity of having to pay for binding, although I could also see it as
nice if the OUSA provided 3-ring binders (the 3" ones could easily hold
300+ pages, I think), or at least offered them for a couple extra bucks.  I
must add the caveat that the paleontology productions that have gone this
route were published on a glossy, light card-stock paper, rather than
simple typing paper, and thus would cost extra that way, too, but this
would be a luxury, not a necessity, to keep costs down.

        Obviously, using a binder could also become elaborate -- OUSA could
also provide section dividers, have binders printed up with their logo on
them, etc., etc., but I'm not suggesting all that -- just simply providing
a package of diagrams pre-punched so that everyone could bind them as they
wish.  The biggest problem with this is that page numbering wouldn't
necessarily be consistent between any two persons' editions, but I'm not
sure exactly how big a problem that would be.

        Just a suggestion!  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: Tue, 17 Sep 1996 00:32:45 -0300 (ADT)
From: Robyn Meyer <rmeyer@netadvantage.com.au>
Subject: Butterfly ball...I did it!!!!!!!!!

Hello people!=20

I did it!!! It took me about 3 hours!!!

I don't know how anyone could possibly even THINK of throwing it up and =
breaking it!!! lol I think I will when I have about a thousand people =
watching to make all the time putting it together worth it!!!

My one problem is that it looks anything BUT solid...does anyone know =
how to get it to stay together better? I keep trying to push it together =
but it doesn't really work...maybe I'd better throw it up before it =
falls apart!!!

If anyone would like a tip about trying to make it for the first time I =
used three colours and that meant that each layer was a different =
colour...so it was much easier to see what was going on...and it helps =
to follow the instructions exactly!!

So thanks for all your help and have a great day from me and my =
butterfly ball :)

Robyn

PS: if ANYONE would like to say something about the mathematics in =
origami I'd be REALLY happy :) hint hint :)





Return-path: <origami-l@nstn.ca>
Date: Tue, 17 Sep 1996 05:17:07 -0300 (ADT)
From: vicky@infoarch.com
Subject: Washi Exhibit in S.F.

Washi Exhibit in S.F.

Hi everyone -

I received a flyer announcing a Japanese Paper "Washi" Art
Exhibit by a visiting group of japanese papermakers from the
Mino Gifu prefecture, scheduled for Sept. 26-30, 10-5 each
day except for thursday (1-5pm).  It's at the Japanese
Community Cultural Center of No. Calif. (JCCCNC), 1840
Sutter St. (between Buchanan and Webster in San Francisco's
Japantown).  In the Lower level exhibition room, and
sponsored by the Japanese Washi Art Assoc.

It looks like they will have free demonstrations on Washi
Art (?) and demonstrations of papermaking.  Can't wait to
see what they have!

Vicky Mihara Avery

vicky@infoarch.com





Return-path: <origami-l@nstn.CA>
Date: Tue, 17 Sep 1996 06:17:33 -0300 (ADT)
From: Holmes David EXC IS CH <holmes@chbs.ciba.COM>
Subject: RE: OUSA Convention Annual 2 of 2

Hi,

>back to 1981 are in great condition). If anyone has alternate suggestions
>for binding, we certainly will listen. Price is still a big concern for us
>(it is the only way we can get such a selection of models available at such
>an accessible price), and we have liked the way comb binding allows for the
>book to be opened flat. The Publictations Team is awaiting your
>suggestions.
>
>Marc

Is anyone on the list familiar with the bindings the publishers
O'Reilly & Associates use for their computer books?

The system is called RepKover, and while it is a proper book
binding, it allows the book to be opened flat.  It has an outer
spine, with the pages glued to an inner cloth spine.

I'm not sure how expensive this would be, but its just a
suggestion.

Dave

*=================================================*
*  David M Holmes           holmes@chbs.ciba.com  *
*-------------------------------------------------*
*  Ciba-Geigy, Basel, Switzerland                 *
*  IS 4.8 Internet/Intranet - Infrastructure      *
*  R-1008.6.03                                    *
*  Tel.  : 0041-61-69-76503                       *
*  Fax   : 0041-61-69-73652                       *
*-------------------------------------------------*
*  Error: Caffeine Not Found - Programmer Halted  *





Return-path: <origami-l@nstn.ca>
Date: Tue, 17 Sep 1996 10:41:37 -0300 (ADT)
From: Maarten van Gelder <M.J.van.Gelder@rc.rug.nl>
Subject: New diagrams in the archives

In the archives you'll find now also:

   Kawasaki rose
   Arch from units
   Wall from units

Maarten van Gelder,           Rekencentrum RuG,  RijksUniversiteit Groningen
M.J.van.Gelder@rc.rug.nl                         Nederland





Return-path: <origami-l@nstn.ca>
Date: Tue, 17 Sep 1996 10:51:16 -0300 (ADT)
From: Lisa_Hodsdon@hmco.com
Subject: 1000 uses for a paper crane...

Well, it's my turn now. I'm folding cranes for a wedding gift for my sister.
I'm using 1 5/8 in. paper, so the cranes are pretty small, and I am presenting
them in two matching glass jars that I found in a kitchen supply store. Based
on the first 300 cranes, I believe that 500 will fill one jar nicely.

I don't want to hang the cranes for two reasons: 1)my sister is allergic to
dust
and 2)my future brother-in-law *hates* clutter. Because of #2, I want to
suggest to them a variety of ways they might enjoy their cranes--both serious
and silly. For example:

* Set them on your mantlepiece to enjoy until the kami fades to white.
* Eat them like popcorn.
* Include one with each of your thank you notes.
* Give one to every visitor who comes to your house.
* Put some in your car to give to toll collectors.
* Include one with bill payments.
* Challenge the kids to sort them.
* Burn them on special occasions and release the spirit of each crane.
* Burn them all and use the jars for pasta.

Any suggestions?

Lisa
Lisa_Hodsdon@hmco.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 17 Sep 1996 11:19:56 -0300 (ADT)
From: Rjlang@aol.com
Subject: Origami Math Talk at Xerox PARC

Hi all,

If anyone in the Bay Area is interested, I'm giving a talk at Xerox PARC on
origami math. It's open to the public; details are below.

--Robert

n.b. the host, Marshall Bern, is the guy who (along with Barry Hayes) proved
that the problem of origami crease assignment is NP-complete.

p.s. Unlike my last announcement, I'm quite sure this was not already held in
1995 ;o)

-------------------------------------------------------------------

Xerox PARC Forum
Thursday, September 19, 1996, 4:00PM, PARC Auditorium

Cranes, Planes, and Cuckoo Clocks: The Scientific Revolution in Origami

Robert J. Lang

Origami is the centuries-old Japanese art of folding uncut sheets of paper
into simple  figures of birds, fish, and flowers; at least, it was until it
collided head-on with the world of science, math, and computers in the last
decade or so. This talk will explore some of the latest developments in the
unusual marriage between the art and the science of origami and will show
some of the remarkable origami figures devised by modern-day folders.

This Forum is OPEN to the public.

Host: Marshall Bern  415-812-4443

Web site: http://www.parc.xerox.com/ops/projects/forum

Requests for videotapes for "Xerox Employees Only" should be sent to Kim
Edens (Edens@parc.xerox.com).

Refreshments will be served from 3:45 - 4:00PM.

The PARC Auditorium is located at 3333 Coyote Hill Road in Palo Alto.  We are
located in the Stanford Research Park, between Page Mill Road (west of
Foothill Expressway) and Hillview Avenue.  The easiest way to get here is to
take Page Mill Road to Coyote Hill Road, and, as you drive up Coyote Hill
between the horse pastures, PARC is the only building on the left after you
crest the hill.  Please park in the large (lower) lot to your right; enter
the auditorium at the upper level of the building.  (The auditorium entrance
is located to the left of the main door and down the stairs.)  There is a
pointer to a "map to PARC" from the above website.

-------------------------------
Upcoming Forums

Sept. 26   No open PARC forum
Oct. 3     Paul Ehrlich, "Betrayal of Science and Reason"
