




Return-path: <origami-l@nstn.CA>
Date: Wed, 02 Oct 1996 05:16:06 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: second IEEE computer journal article - unit origami polyhedra

    The second column on origami polyhedra appeared in the Sept issue
of IEEE Computer Graphics and Applications. This one was about some
Archimedean polyhedra while the first one, in July, was about the
Platonic polyhedra.
    This article makes an argument about how models are important in
developing a 3D intuition, which is important if you want to design
computer graphics.  Andrew Glassner of Microsoft is the writer.
    It's great that origami got a total of 13 pages, including diagrams,
in such a journal. There were diagrams for around seven models from my
book and four models from Tomoko Fuse's Unit Origami. (almost a book in
itself).
    There was a reference to oridraw, and to the archives, as well as
to Robert Lang's papers.

Rona





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 09:52:16 -0300 (ADT)
From: kkinney@med.unc.edu (Kevin Kinney)
Subject: Re: SEOF-Yoshizawa

> This would make a fascinating thread.  Could you describe what was so unique
> about Yoshizawa's hand movements?  I've taken for granted that everyone
> creases and folds using fairly similar techniques.  I'd love to hear more
> about how a master does it - is the paper anchored differently?  Does he
> fold in the air or on a surface?  Please tell!

I'll take a whack at it;  Jeannine and others can add to what I forget.

Yes, his folding technique is *quite* different from what I, at least,
have seen before.

Mr. Yoshizawa folds in the air.  He is quite strict about this.  He'll
correct you if you start to slip.  He did grudginly allow table-folding on
a coule occasions where things got tricky.

No leaning your elbows on the table either ("makes you look older")

He did not seem to approve of using some terms, such as "Kite Base," as
this gives a preconceived notion of what the paper will become  (i.e., if
you call it a kite base, the paper will lean toward becoming a kite.  Now
*that* is something I'd trult love to see:  his version of a paper kite)

You get one (and only one) try at making each crease.  No re-folding  (we
were treated to an extended speech in rapid fire Japanese when it appeared
one of us had asked for a repeat.  He crumpled the piece of paper he was
working on and tossed it aside.  Then he picked it back up and made it
into a dog anyway)

Hand movements when creasing must be smoth and fluid.  No "series of small
pinches" like I do when air-folding.  For example, an initial diagonal
valley fold (which was the first step in, I believe, all of the models he
taught), you line up the corners, pinch the center with one thumb and
forefinger, and then use the other thumb and forefinger to slide from the
center to the corner, in a smooth motion.  He was pretty firm on this, too

(I had to do a good bit of surreptitious adjusting of creases, since this
wasn't as accurate as I'd have liked).

Very little emphasis on defined landmarks, many judgement calls (but these
are for finishing touches, and impose some artistic character on the model).

Overall, the most distinguishing feature was a reverence for the paper.
Each piece was almost a living entity with him (OK, not alive, but an
individual with its own characteristics).  He treated each piece with a
great respect, and spoke of an ongoing dialog with the paper as you fold
(and I'm sure he wasn't talking about my "sink, darn it!" dialog that I
frequently use)

That's what I recall, anybody got anything else?

Kevin
kkinney@med.unc.edu





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 13:42:34 -0300 (ADT)
From: Rjlang@aol.com
Subject: origami math(ematica) sighting

In a brochure touting the wonders of Mathematica 3.0, there is a gallery of
Mathematica graphics, which includes a series of images of the traditional
flapping bird folding itself into shape. The images are credited to "L.
Zamiatina." Having once tried to use Mathematica to simulate origami using
inverse kinematics, my admiration for L. Zamiatina for evidently succeeding
at this is high!

If you want to see for yourself, you can order a free copy of the brochure
from Wolfram's web page, www.wolfram.com.

Robert J. Lang
rjlang@aol.com





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 17:04:45 -0300 (ADT)
From: james white <jwhite@osha.igs.net>
Subject: Re: mythological Beings

I'm looking for the publishers name and ISBN # for Jay Ansill's book.

Marc or anyone?

Thanks
Jim
jwhite@osha.igs.net





Return-path: <origami-l@nstn.CA>
Date: Wed, 02 Oct 1996 20:02:08 -0300 (ADT)
From: Theresa Davis <davis@msmc.EDU>
Subject: Re:T-rex skelton

Hello,  I was wondering where I might find the diagrams for the
Tyrannosaurus Rex Skelton By Issei Yoshino  Thank you for any help.
----------------------------------- -----------------------------------
 Theresa Davis                Email:     davis@msmc.edu
 Mount Saint Mary College            Phone:    (914) 569-3243
 330 Powell Ave.                    Fax:      (914) 562-6762
 Newburgh, NY  12550            Office:





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 20:35:56 -0300 (ADT)
From: Oded Streigold <benjic@netvision.net.il>
Subject: Mythological Beings ISBN etc.

 Mythical Beings info:

       Jay Ansill

            Mythical Beings                     96 pp.  Binding: pap
            HaprerCollins                       ISBN: 0-06-096866-4
            15 models                           Printed: 1992  Lang: ENG
            Difficulty: I-H                     Theme: MYTHOLOGY

 Taken from a list of origami books ( I think compiled by Vann Cornelius )
 that can be found in the origami archives.

 Oded  =8-)
 benjic@netvision.net.il





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 21:31:05 -0300 (ADT)
From: Emma&Jack Craib <gearhead@snet.net>
Subject: Re: Failed Origami

At my schools totally failed origami models and really wretched quality
models go by the name of "baked potatoes".  If you visualize a baked spud
with its skin split the way restaurants cut them with the potato mushing
up....the kids seem to relate to it... (If you don't make sharp creases
you end up with a baked potato instead of a (whatever)!)   Emma

Emma & Jack Craib  gearhead@snet.net





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 22:06:58 -0300 (ADT)
From: PenneyA@aol.com
Subject: Re: Gay Merrill Gross on TV

Rachael,
Thanks for the great info on origami  on the Discovery channel.  That's the
kinda stuff that makes this list so worth while.
               Penney





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 22:59:33 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: mythological Beings

At 05:04 PM 10/2/96 -0300, you wrote:
>I'm looking for the publishers name and ISBN # for Jay Ansill's book.
>
>Marc or anyone?

The publisher is HarperPerennial (division of HarperCollins), and the ISBN
is 0-06-096866-4. Good luck finding it. Marc

P.S. Please excuse the appearance of this e-mail; I am first learning the
nuances of a new system.





Return-path: <origami-l@nstn.ca>
Date: Wed, 2 Oct 1996 23:04:06 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re:T-rex skelton

At 08:02 PM 10/2/96 -0300, you wrote:
>Hello,  I was wondering where I might find the diagrams for the
>Tyrannosaurus Rex Skelton By Issei Yoshino  Thank you for any help.

The model was self published in a book titled *Origami Skeleton of
Tyrannosarus rex.* It can be obtained through The Source, the supplies
center of OrigamiUSA.
Marc





Return-path: <origami-l@nstn.CA>
Date: Thu, 03 Oct 1996 09:41:59 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.COM>
Subject: Paper Content

Greetings -

Having dutifully searched my origami library and the origami-l archives
(until the site refused my connection after a tedious hour) and not found
the information I need, I thought I'd ask the experts. :-)

The food coop I belong to is interested in my Paper Boxes, but they want
ones made only with recycled or tree-free paper.  In going back to the art
stores where I have bought a lot of paper-by-the-sheet lately, I am
delighted to discover that I have been folding with much more cotton rag
and recycled paper than I knew!

My questions have to do with various types of Japanese papers.

        Washi is traditionally made with mulberry bark.  Is it harvested
        without killing the tree?

        My understanding is that chiyogami refers to the printing process,
        not the paper on which the print is made (although it is usually
        on washi); yuzen refers to a print on washi, usually with metallic
        ink; and aizome refers to blue- (indigo?) printed washi.  Is this
        accurate?

        What is unryu exactly?

        Can I assume that all kraft chiyogami (brown paper) is recycled?

        Are there other types of Japanese papers -- regularly used for
        origami -- that are tree-free or recycled?

        And finally, does anyone know anything about Kozo trees (that's
        what the guy at the art store said) and what part of them is used
        to make paper (is the tree completely harvested or left living)?

I appreciate any help you can give me.  Please feel free to answer any
paper-content-related questions I haven't asked, too!

- Gretchen, adding a layer of "ecological correctness" to paperfolding

P.S.  Please pardon if this message is incoherent -- now that it is
morning, I think i will try to get some sleep. X-\

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





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 09:51:21 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: Re: Failed Origami

A few years ago I folded a car model (the bughati by Max Hulme?) and was
parading it around the office to the oohs and aahs of my co-workers.  Later
one of the guys came up and said he had folded a car also.  He had a
crumpled piece of paper and proudly announced that is was a Yugo after being
in a crash. ;-)

Mark

Mark Morden == marmonk@mail.eskimo.com
http://www.eskimo.com/~marmonk/
--------------------------------------------------------
I believe in Christianity as I believe that the Sun
has risen; not only because I see it, but because by it
I see everything else.
                       C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 11:25:04 -0300 (ADT)
From: "Mr.COLIN ROWE" <PAZCMR@pan1.pharm.nottingham.ac.uk>
Subject: Pine Cone-Toshikazu Kawasaki

Help! I'm having problems with the reverse
side of this fold diagrammed in "Origami for
Connoisseurs" page 136. At step 18 when I
fold the white paper triangle in to the
pocket I get a diamond shape and it is 2D
not 3D.
Colin Rowe,
Chief Technician - Research Support,
Pharmaceutical Sciences, University of Nottingham,
Email Colin.Rowe@Nottingham.ac uk





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 10:32:44 -0300 (ADT)
From: Oded Streigold <benjic@netvision.net.il>
Subject: Re: Failed Origami

 oh, well, here's mine: Ameba folding.

 Oded.

 benjic@netvision.net.il





Return-path: <origami-l@nstn.CA>
Date: Thu, 03 Oct 1996 10:58:39 -0300 (ADT)
From: Marcia Mau <marcia.mau@pressroom.COM>
Subject: Origami Sighting - Philadelphia

On Sunday I noticed some modulars in the window of Shoestring & Splurge, 524
- Fourth St @ South St.  There were 12 piece Toshie's Jewels and another
modular which may have been Dave Petty's Borealis (BO Magazine 140, pg 36).

The shop was closed so I couldn't ask about the window display.
Marcia Mau
marcia.mau@pressroom.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 12:19:17 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: mythological Beings

>At 05:04 PM 10/2/96 -0300, you wrote:
>>I'm looking for the publishers name and ISBN # for Jay Ansill's book.
>>
>>Marc or anyone?
>
>The publisher is HarperPerennial (division of HarperCollins), and the ISBN
>is 0-06-096866-4. Good luck finding it. Marc
>
>P.S. Please excuse the appearance of this e-mail; I am first learning the
>nuances of a new system.
>

Just a note about title:  my copy with the above ISBN has the title
_Mythical Beings_, rather than _Mythological Beings_.  It also has "Origami
Today" above the title (so some might say the title actally is _Origami
Today: Mythical Beings_, although the title page has just _Mythical
Beings_.)  Ansill's other book, _Lifestyle Origami_ also has the Origami
Today label. This might help those of you who are searching for it.
Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.CA>
Date: Thu, 03 Oct 1996 12:30:14 -0300 (ADT)
From: chall@scsn.NET (Carol Hall)
Subject: Re: Paper Content

>The food coop I belong to is interested in my Paper Boxes, but they want
>ones made only with recycled or tree-free paper.  In going back to the art
>stores where I have bought a lot of paper-by-the-sheet lately, I am
>delighted to discover that I have been folding with much more cotton rag
>and recycled paper than I knew!
>
>My questions have to do with various types of Japanese papers.
>...
>
>I appreciate any help you can give me.  Please feel free to answer any
>paper-content-related questions I haven't asked, too!
>
>- Gretchen, adding a layer of "ecological correctness" to paperfolding

I don't think I can be of much help concerning Japanese papers, other to
suggest getting in touch with Michael LaFosse.  But you and others might be
interested to know that Greenpeace did a publication on paper, paper
recycling, and related issues a few years ago.  I can't put my hands on my
copy right at the moment, but it was (is) a small booklet of 20 or so pages
which has lots of valuable information about paper in America.  Greenpeace
local or national offices should be able to provide copies.  Don't know
about cost...
Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 15:09:24 -0300 (ADT)
From: rita <rstevens@philly.infi.net>
Subject: San Francisco Trip

I'll be heading out to San Francisco the last week in October for business
and I imagine there must be tons of places to pick up origami supplies.  Of
particular interest is the book 'Origami for the Connoisseur.'  I've heard
it mentioned many times on this site and I'd like to pick up a copy.  I know
it's out of print so if any of you know where I can get a copy or have any
recommendations for places in S.F., please email me at
rstevens@philly.infi.net.

Thanks.
Rita





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 15:35:32 -0300 (ADT)
From: Gretchen Klotz <gren@agora.rdrop.com>
Subject: More Info on Michael Shall's AIDS Quilt Panel

Hi!

For those of you who are able to go to the AIDS Memorial Quilt display
10/11-13 in Washington DC, Basja sent me more specific information on
where Michael's panel will be located:

        Name on panel: Michael Shall
        Quilt Block Number: 4241
        Display locator number: 124D
        Closest Landmark: National Gallery, East Wing
        Closest Metro Stop: Federal Center SW

Basja (co-creator of the panel and Michael's childhood friend) will be
there with some of her family and some of Michael's on either Saturday
10/12 or Sunday 10/13.

Please let me know if you make it!

- Gretchen

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





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 16:42:12 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Paper Content

Does the COOP want recycled to be non-tree-killing as well?
That's going to be hard bill to fill. ;-)

As a knee-jerk environmentalist and COOP member myself,
I would regard Japanese paper in the washi category as
implicitly environmentally friendly: if the process kills
the plant/tree, then if they weren't using "plantation"
plants, they'd have run out of source material generations
ago. Plus, there's precious little of Japan that's still
in a "virgin" state. Japan has a history of taking good
care of their traditional crafts and craftpeople, treating
them as national treasures.

Manufactured origami paper is a tougher problem; I personally
find the smell of some printing inks used pretty "industrial",
and the paper may be made from wood chips. As for killing the
trees, the COOP should recognize that while most of the wood
fibre paper in North America comes from Canadian and US forests
with questionable "sustainable" yield practices, this is not
true of forestry in Britain and Europe, where essentially all
forests used for timber and wood products are "plantations".
So Italian origami paper might OK.

Also, in general you're going to find that papers made from
cotton and similar plant fibers (rather than wood) will
ourperform "wood" papers hands down when it comes to acid
content, yellowing, strength etc.

And: you're not making a throwaway product, so paper that ends
up as one of your boxes is that much fiber immediately "recycled"
into something beautiful and useful.

--valerie





Return-path: <origami-l@nstn.CA>
Date: Thu, 03 Oct 1996 17:15:23 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Paper Content

The EarthCare catalog (a division of Real Goods, 800-762-7325) carries a lot
of "earth-friendly" papers. Both recycled and alternative (hemp and other
non-wood plant fibers). I've often imagined that one of their buyers must
love paper.

I recommended this catalog for those that like to experiment! They've
carried the recycled money paper, and paper recycled made from denim threads.

(This last year they started selling paper that is made with pepper seeds
embedded so that when you immersed the paper the seeds would sprout. I kept
thinking you could get that and fold a paper pepper for someone to plant
:->. Didn't follow up though.)

I don't have the toll number for EarthCare, but I expect you can get a
catalog by calling the main RealGoods number. Some of the product lines
cross over between the two catalogs anyway.

pat slider.





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 20:23:47 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Pine Cone-Toshikazu Kawasaki

At 11:25 AM 10/3/96 -0300, you wrote:
>Help! I'm having problems with the reverse
>side of this fold diagrammed in "Origami for
>Connoisseurs" page 136. At step 18 when I
>fold the white paper triangle in to the
>pocket I get a diamond shape and it is 2D
>not 3D.

The front of the structure is, in fact 2-D. It is the large flaps behind
that do not lie entirely flat.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 3 Oct 1996 22:18:03 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: San Francisco Trip

rita wrote:
>
> I'll be heading out to San Francisco the last week in October for business
> and I imagine there must be tons of places to pick up origami supplies.

I visited the Kinokuniya bookstore and stationary store, and The Paper Tree
     when I was in San Francisco in
April.  They are only a couple of blocks apart and worth the stop.

In San Francisco, there is a small Kinokuniya stationery shop
across from the big Kinokuniya bookstore in the
Japantown mall (JapanTown Center, Kinokuniya Building)
Kinokuniya Stationary and Gift 415-567-8901
Kinokuniya Bookstores
1581 Webster Street
San Francisco 415-567-7625

The Paper Tree
1743 Buchanan Mall
San Fransisco, CA 94115
(415) 921-7100

Aitoh
1434 28th Ave.
San Francisco, CA 94122
1-800-681-5533
FAX 415-566-1448
Ask for catalog, minimum order $100 or so. If you pay up front they ship free

Mikado
Kintetsu side of the Japantown mall
Kinokuniya has more exotic papers (washi and whatnot), but
Mikado has pretty much every type of packaged origami on
the market.

Some directions sent to me in April:

>
> Japan Center, Kinokuniya Building
> 1581 Webster Street, San Francisco, CA
>       Some directions may help.  The easiest way to get there is
        to take 101 north toward the "City Center/Golden Gate Bridge".
        Eventually you'll see signs for Fell St.  Follow the freeway
        to its end.  If you go straight, you're on Fell St.  If you
        turn right you're on...rats...I forget the name, but it will
        take you right to the edge of Japan Town.

        Fair warning--if you go on a Sunday, parking is a *bear*.

        If you're downtown looking for Japan Town, take Geary towards
        the Golden Gate Bridge.  That will also take you right by
        Japan Town.

        Finally, if you're over by Golden Gate Park, probably the easiest
        way is Divisadero to Geary, then right on Geary.

Janet Hamilton

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 01:46:30 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Apology from Dorigami

I apologize for creating such a stir about how I felt about the content of
the Origami-l.  I have really been feeling embarrassed by some of what has
gone on.   Steve Woodmansee wrote in Origami-L subject:  "list content (NOT a
flame)"  about us entering a beautiful garden of information and knowledge,
It was so well put that I felt he said what I was trying to say in the first
place, but he put it so much better than I ever could have.   Thank you Steve
for such beautiful words.  I wish I could copy it but my paste isn't working
but if you can check out what he said. I think you will find it interesting.
  I love Origami and I know all of you do too.  Just to make up for this mess
I started, I am going to share a very cute model with all of you.  Just make
two waterbombs,( 6 inch squares) then fold a 3rd square into a strip about
3/4 inch wide and insert each end of the strip into the pocket of a
waterbomb.  Surprize, you will have a telephone reciever.  I love it.  I was
first shown this by Todd Reichert and Laura Kruskal who got it from a
waitress in a restaurant.  Afterwards I found in in a book on Chinese
paperfolding sent to me by Florence Tempko because David Lister is
investigating Chinese Paper folding and I am trying to help him.  Things
certainly do get around, don't they.  This model gets a chuckle from everyone
I show it too.  That's the kind of model I like.  Affoldingly yours, Dorigami





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 10:41:43 -0300 (ADT)
From: Derek Stottlemyer <dereks@ic.net>
Subject: Re: Pine Cone-Toshikazu Kawasaki

Marc Kirschenbaum wrote:
>
> At 11:25 AM 10/3/96 -0300, you wrote:
> >Help! I'm having problems with the reverse
> >side of this fold diagrammed in "Origami for
> >Connoisseurs" page 136. At step 18 when I
> >fold the white paper triangle in to the
> >pocket I get a diamond shape and it is 2D
> >not 3D.
>
> The front of the structure is, in fact 2-D. It is the large flaps behind
> that do not lie entirely flat.
>
> Marc

        I just tried the Pine cone for the second
time (the first time was easier!).  I would forget
about point "p" in step 16 and just fold the white
part of right side in half (in step 17).  Then lift
"p" and the part you just folded will slide under
the colored flap on the other side of "p".  This is
not easy, you have to twist the white part quite a
bit.  After that I can't help you, 'cause I hadn't
made all the fold on the other side (My fault for
trying to cheat!).
        Good luck,
               Derek





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 10:43:30 -0300 (ADT)
From: Derek Stottlemyer <dereks@ic.net>
Subject: ??Paper for action models

I have been working on the action models in
Lang's the complete Book of Origami.  The size of
paper needed (up to 1 x 7 for the cuckoo clock) and
a level of difficulty the precludes the use of 1" x
7" ;-) has led me on quite a such for good paper.
I bought some large colored paper from an arts
and crafts store, but it ripped very easily
(especially when you try the action mechanism) and
didn't hold creases well.  I have some colored
foil, but I don't really want a bright christmas
viking ship.  Does anyone have any suggestions?
I'm in the Detroit area.
        Thanks,
               Derek





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 11:46:16 -0300 (ADT)
From: "Mr.COLIN ROWE" <PAZCMR@pan1.pharm.nottingham.ac.uk>
Subject: Pine Cone-Toshikazu Kawasaki

>Help! I'm having problems with the reverse
>side of this fold diagrammed in "Origami for
>Connoisseurs"
Sorry to have bothered everybody, I have
managed to figure it out (along with several
less elegant ways of locking it together.
Colin Rowe,
Chief Technician - Research Support,
Pharmaceutical Sciences, University of Nottingham,
Email Colin.Rowe@Nottingham.ac uk





Return-path: <origami-l@nstn.CA>
Date: Fri, 04 Oct 1996 09:12:03 -0300 (ADT)
From: Jennifer.Campbell@cciw.CA (Jennifer Campbell)
Subject: similar to telephone receiver

Dorigami wrote:
..
>   I am going to share a very cute model with all of you.  Just make
>two waterbombs,( 6 inch squares) then fold a 3rd square into a strip about
>3/4 inch wide and insert each end of the strip into the pocket of a
>waterbomb.  Surprize, you will have a telephone reciever.

Another cute model along similar lines--a stem of cherries:
Make the two waterbombs a lot smaller and of red paper. Make the folded
strip with green paper, narrower than for the phone and then fold in half
lengthwise into a "V" shape. Insert into the pockets of the waterbombs
(make little hooks on the ends so the ends stay in). This was my first
"invention" when I started origami at age 12. My cat found it irresistable,
but that's another story. I leave it to the clever ones to design a leaf
for the stem.
Jennifer.

       /\_/\       ________
     `(     )' oo /        \
       `==='     | Maguro o |
       /   \     |  kudasai |
      |     |     \________/
      |     |
    ___\___/__Jennifer.Campbell@cciw.ca





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 19:42:37 -0300 (ADT)
From: Kevin Thorne <c598033@showme.missouri.edu>
Subject: Re: ??Paper for action models

On Fri, 4 Oct 1996, Derek Stottlemyer wrote:

> I have been working on the action models in
> Lang's the complete Book of Origami.  The size of
> paper needed (up to 1 x 7 for the cuckoo clock) and
> a level of difficulty the precludes the use of 1" x
> 7" ;-) has led me on quite a such for good paper.
> I bought some large colored paper from an arts
> and crafts store, but it ripped very easily
> (especially when you try the action mechanism) and
> didn't hold creases well.  I have some colored
> foil, but I don't really want a bright christmas
> viking ship.  Does anyone have any suggestions?

        For the cuckoo clock I used regular poster paper you can buy off
the roll at any art store.  My model was 1'x7' so the thicker paper wasn't
a problem since it was so large.  The thickness also prevents it from
tearing when I use the action mechanism.  This style is okay for the
cuckoo because only a small part makes up the action device.  But with the
ship, almost the entire model is the action part, so rigid paper is
definitely required.  I might suggest looking at some of the softer and
earthy types of foil paper that Origami USA offers in their catalog as
opposed to the typical bright colors for foil.

Kevin

Kevin Thorne
Columbia, MO





Return-path: <origami-l@nstn.ca>
Date: Fri, 4 Oct 1996 22:29:13 -0300 (ADT)
From: Emma&Jack Craib <gearhead@snet.net>
Subject: re: paper content, chiyogami

Hi,
   White mulberry is gathered in the fall, both saplings and/or branches
after the leaves have fallen from the tree.  The bark is easiest to
remove at this time.  It is steamed to peel.  This from Timothy Barrett's
excellent book, Japanese Papermaking: Traditions, Tools, and Techniques.
He is very real and so is his book.  It sounds botanically humane.
   Chiyogami is printed paper, traditionally implying printed with some
auspicious pattern...One reference to paper used does say the strength
was important as the papers were intended for objects in daily use...that
they had to be fine enough for precision folding, and strong enough to
withstand pasting.   This and a TON more is in the book Chiyogami:
Handprinted Patterned Papers of Japan...by Ann Herring.  Another really
nice Kodansha  book.
Nice photos...small book.  Emma

Emma & Jack Craib  gearhead@snet.net





Return-path: <origami-l@nstn.ca>
Date: Sat, 5 Oct 1996 13:32:08 -0300 (ADT)
From: "Pam, Namir, or Dima" <pgraben@umich.edu>
Subject: Re:  ??Paper for action models

>From: Derek Stottlemyer <dereks@ic.net>
>
>I have been working on the action models in
>Lang's the complete Book of Origami.  The size of
>paper needed (up to 1 x 7 for the cuckoo clock) and
>a level of difficulty the precludes the use of 1" x
>7" ;-) has led me on quite a such for good paper.
>I bought some large colored paper from an arts
>and crafts store, but it ripped very easily
>(especially when you try the action mechanism) and
>didn't hold creases well.  I have some colored
>foil, but I don't really want a bright christmas
>viking ship.  Does anyone have any suggestions?
>I'm in the Detroit area.
>       Thanks,
>             Derek

Hey all.  This involves a little work, but being a largish advocate
of tissue foil and other paper hybrids, I would suggest a hybrid of
tissue paper with aluminum foil, and then saran wrap, then another
layer of tissue paper.  This lends strength and unrippibililty.


     -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, 5 Oct 1996 15:23:47 -0300 (ADT)
From: "Dorinha M.S.S. Vitti" <dmssvitt@carpa.ciagri.usp.br>
Subject: mascots

Who knows how to get the "Mascots of J- league" by Tokiko Kanasugi?I
think it is a japanese magazine, number 187, but I don't know its name
Thank you in advance. Dorinha.





Return-path: <origami-l@nstn.ca>
Date: Sat, 5 Oct 1996 17:40:49 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: Origami Sighting

Friday nights on ABC, in the States, there is a show called "Sabrina the
Teenage Witch."  Last night they had some origami of sorts in the story.

1.  Sabrina and here friend are in their High School Home Economics class.
The much-too-perky teacher is all excited that they are going to learn
napkin folding.  She starts them out with the "bishop's miter."  The dim,
but dreamy-looking, football player comes over to Sabrina and her friend and
says that he can't figure out the bishop's miter, but, holding out a
crumpled wad, he made a snowba11.  (Failed origami in an origami sighting!)
At the end of the scene the teacher approaches Sabrina to see how she is
doing.  Using her magic she quickly spiral folds her red napkin into a rose.
(I don't know if it was special effects or it was a real fold that was used.)

2.  Later in the show, Sabrina's friend and the football player are at the
pizza parlor trying to get to know each other.  The friend is disappointed
that they have almost nothing in common.  She makes a last stab at
impressing the guy by whipping up a crane (or swan) with pleated wings out
of her napkin. (oh to be able to fold that fast)  She offers it to the
football player who is oblivious to what she has made.  He says thanks,
grabs the napkin, and wipes his mouth with it.  Again, I don't know if it
was a real fold or not.  It went by very quickly.

Mark

Mark Morden == marmonk@mail.eskimo.com
http://www.eskimo.com/~marmonk/
--------------------------------------------------------
I believe in Christianity as I believe that the Sun
has risen; not only because I see it, but because by it
I see everything else.
                       C.S. Lewis, "The Weight of Glory"





Return-path: <origami-l@nstn.ca>
Date: Sun, 6 Oct 1996 08:47:00 -0300 (ADT)
From: Emma&Jack Craib <gearhead@snet.net>
Subject: re: paper for action models

Have you tried "Fadeless" brand paper?  It is a good quality (but machine
made paper) with one side white and the other printed a vibrant color ( a
large selection of colors available, including two browns).
I believe it comes in _large_  rolls for people doing bulletin board
displays that they want to look good for a long time, as well as 12"x18"
packages of mixed colors, 100 sheets.  It is heavier than copier paper,
but works for larger or relatively simpler models although I haven't done
action stuff.
Excuse me if this was mentioned before...I wasn't paying attention!
Emma

Emma & Jack Craib  gearhead@snet.net





Return-path: <origami-l@nstn.ca>
Date: Sun, 6 Oct 1996 09:20:20 -0300 (ADT)
From: Richard of Foong <ryf@ecr.mu.oz.au>
Subject: Re: One more female origamist!

On Wed, 2 Oct 1996 TrekDBob@aol.com wrote:

> My dad was in the navy in the early 60's with a guy named Shirley...

How about the old band 'Skyhooks', whose lead singer was named Shirley.

:)

Richard





Return-path: <origami-l@nstn.ca>
Date: Sun, 6 Oct 1996 13:22:37 -0300 (ADT)
From: "Lauinger,p15" <Lauinger@06.bonn02.TELEKOM400.dbp.de>
Subject: Mascot of J-League

#Mail.D# 2.00
49

Anlage(n):  0

I think the mascots diagrams are published in NOA (Nihon
Origami Association) magazine. I'll have a look in my NOA
magazine when I'm at home again.

Happy folding

Doris





Return-path: <origami-l@nstn.CA>
Date: Sun, 06 Oct 1996 13:23:04 -0300 (ADT)
From: "Lauinger,p15" <Lauinger@06.bonn02.TELEKOM400.DBP.DE>
Subject: One more female origamist

#Mail.D# 2.00
49

Anlage(n):  0

Let's talk about origami again. It's an origami-list!!!

Happy folding

Doris





Return-path: <origami-l@nstn.ca>
Date: Sun, 6 Oct 1996 13:50:37 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: mythological Beings

Jim --

I believe the publisher of the Ansill book is HarperPerennial (part of Harper
Collins Publishers, 10 East 53 street, New York, NY 10022) and the ISBN is
0-06-096866-4.

Enjoy!

Dee





Return-path: <origami-l@nstn.ca>
Date: Sun, 6 Oct 1996 21:02:18 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Paper Content

On Thu, 3 Oct 1996, Gretchen Klotz wrote:

>       Washi is traditionally made with mulberry bark.  Is it harvested
>       without killing the tree?

Yes. This question has been well answered already.

>       What is unryu exactly?

Unryu is an all-kozo (mulberry) tissue paper. Originally hand-made, it is
now commonly made by machine in Thailand. Most of the unryu available today
is of the machine-made variety.

>       Can I assume that all kraft chiyogami (brown paper) is recycled?

Possibly, but no guarantees.

>       Are there other types of Japanese papers -- regularly used for
>       origami -- that are tree-free or recycled?

There are 3 main fibre types for washi: kozo (mulberry), gampi, and
mitsumata (sp?). All are harvested as renewable resources (i.e. the
branches are cut and the bark removed from them for making paper.

>       And finally, does anyone know anything about Kozo trees (that's
>       what the guy at the art store said) and what part of them is used
>       to make paper (is the tree completely harvested or left living)?

Kozo is mulberry. The tree is left alive.

Check out the washi glossary on my homepage for more detailed info.

          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.





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 00:02:11 -0300 (ADT)
From: Ramrod <RWhite3671@gnn.com>
Subject: Devil

Does anyone know where I can find the diagrams to "Devil" by Jun
Maekawa? A photpo of it can be seen at:
Http://www.ask.or.jp/~origami/t/people/maeko/viva-e.html

Ron White
RWhite3671@gnn.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 02:14:50 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: SEOF-Yoshizawa

At 09:52 AM 10/2/96 -0300, you wrote:
[snip]
>You get one (and only one) try at making each crease.  No re-folding...

What was his reasoning here?  If I didn't re-fold I'd never finish a model
(which tells you where my skill level is)...
>
>Hand movements when creasing must be smoth and fluid.  No "series of small
>pinches" like I do when air-folding.[snip]

Seems like this would be very hard to control.  My attempts to fold like
this yield extremely uneven edges - is this perhaps intentionally done to
create a more 'organic' effect?
>
>Overall, the most distinguishing feature was a reverence for the paper.
>Each piece was almost a living entity with him ...[snip]

This part seems especially fascinating.  This would also make an interesting
thread - what does everyone do while they're folding?  Hum?  Listen to
music?  What kind?  Does anyone else have a 'dialog' with the paper?

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 02:24:19 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: E-mail Origami Graphics

Hello out there!

I'm hoping someone can give me some hints (Valerie?  David?) on what
settings I might change in my netscape software to render the Origami
graphics in my e-mail more efficiently.  Most of the time, when I get mail
which includes pseudo-diagrams, especially hints and the like, it looks like
someone dropped a box of matches on my screen.

I suspect there must be some way to use proportional or absolute spacing to
fix this, but no clear pattern emerges.  I do see occasional mail on this
list from someone (forgot to note who) which has something in the signature
block that looks like a tall cat, and this comes out fairly accurate.  On
the other hand, the diagrams are all but useless in the format I receive them.

Any ideas?  Thanks in advance...!

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 02:27:32 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Another Origami Sighting

Saturday morning I was watching TV (another productive weekend) and saw the
opening credits to a show about household topics.  The 30-40 second intro
shows a busy mom rushing through the house, making breakfast, vacuuming,
etc.  Eventually, she grabs a piece of paper from the kitchen counter and on
her way through the house (in rapid motion no less) folds it into an Origami
swan which she sails into a baby's playpen to stop it from crying.  Not
quite the tranquil mood we try to evoke, but it still counts as a sighting.

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 02:36:53 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Devil

At 12:02 AM 10/7/96 -0300, you wrote:
>Does anyone know where I can find the diagrams to "Devil" by Jun
>Maekawa? A photpo of it can be seen at:
>Http://www.ask.or.jp/~origami/t/people/maeko/viva-e.html
>
Just in case anyone else has the same problem I did, I had to enter the
aforementioned URL in this format:

Http://www.ask.or.jp/~origami/t/People/MAEKO/VIVA-e.html

My usual cut-and-paste from the e-mail supplied URL didn't work.  BTW, the
devil figure is quite amazing - definitely worth the trouble to find it.

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 02:43:04 -0300 (ADT)
From: Joshua Kronengold <mneme@dorsai.dorsai.org>
Subject: Re: E-mail Origami Graphics

Steve Woodmansee writes:
>I suspect there must be some way to use proportional or absolute spacing to
>fix this, but no clear pattern emerges.  I do see occasional mail on this
>list from someone (forgot to note who) which has something in the signature
>block that looks like a tall cat, and this comes out fairly accurate.  On
>the other hand, the diagrams are all but useless in the format I receive them.
        That would be me (ASCII cat stolen fair and square).
        For ascii drawings, absolute spacing good, proportional spacing
bad.  This is true for senders as well as receivers -- if you use
proportional spacing to form your ascii graphics, when you send them,
the only people who will be able to see them will be those using
exactly the same fonts as you!

--
mneme@dorsai.org        Josh Kronengold                     |\      _,,,--,,_
     ,)
  ^  "No matter how subtle the sorceror, a knife between/,`.-'`'   -,  ;-;;'
 /\\ the shoulder blades will seriously                |,4-  ) )-,_ ) /\
/-\\\cramp his style."           -- Vlad Taltos'---''(_/--' (_/-'





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 10:15:50 -0300 (ADT)
From: Brett Askinazi <askinazi@i1.net>
Subject: Re: SEOF-Yoshizawa

> This part seems especially fascinating.  This would also make an
interesting
> thread - what does everyone do while they're folding?  Hum?  Listen to
> music?  What kind?  Does anyone else have a 'dialog' with the paper?
>

My dialog goes like this,

Sink baby Sink
 Ok, OK, good, good,

NO , NO , NO , NO

aw damn.

Brett
askinazi@i1.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 10:46:40 -0300 (ADT)
From: kkinney@med.unc.edu (Kevin Kinney)
Subject: Re: SEOF-Yoshizawa

> [snip]
> >You get one (and only one) try at making each crease.  No re-folding...
>
> What was his reasoning here?  If I didn't re-fold I'd never finish a model
> (which tells you where my skill level is)...

        Not positive, because his statements were in Japanese, and the
translator didn't go into as much detail as he did, but the basic idea is
that you can only make a crease once, once it's made, it's made, and if
you try to "re-make" it, you're making an entirely new crease, and that is
pointless and/or undesirable, and possibly a violation of the paper's
spirit.

(n.b.  these are MY words, not his, its my best approximation based on
body language, translation, and an admittedly imperfect memory (mine).
Others who were there may be able to add to this)

        Personally, I'm in the same boat as you.  I very often re-fold,
especially when precision is called for.

> >
> >Hand movements when creasing must be smoth and fluid.  No "series of small
> >pinches" like I do when air-folding.[snip]
>
> Seems like this would be very hard to control.  My attempts to fold like
> this yield extremely uneven edges - is this perhaps intentionally done to
> create a more 'organic' effect?
> >
        It's a royal pain to control, form me at least.  Mr. Yoshizawa
seems to find it more elegant, rhythmic, and organic.

> >Overall, the most distinguishing feature was a reverence for the paper.
> >Each piece was almost a living entity with him ...[snip]
>
> This part seems especially fascinating.  This would also make an interesting
> thread - what does everyone do while they're folding?  Hum?  Listen to
> music?  What kind?  Does anyone else have a 'dialog' with the paper?

        Yes, I *do* have an ongoing dialog with the paper.  It's usually
something along the lines of:

        Fold, darnit!
        sink, darnit!
        what the heck am I supposed to do *here*?
        don't even *think* about tearing!

Needless to say, my dialog is substantially less respectful than that Mr.
Y. advocated.  And so are momodels.  Hmm...

Kevin Kinney
kkinney@med.unc.edu





Return-path: <origami-l@nstn.CA>
Date: Mon, 07 Oct 1996 10:54:38 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: polyhedra in latest issue of ORU

Just got the latest issue of ORU. It is as inspiring as usual.

The featured artists are Sonobe and Joseph Wu.

There is a section on polyhedra from p70-75 with no English reference.
Does anyone know whether these folds are attributed to anyone, in the
article.

If anyone can read Japanese but doesn't have the magazine, please
email me.

Rona





Return-path: <origami-l@nstn.CA>
Date: Mon, 07 Oct 1996 12:16:49 -0300 (ADT)
From: Derek Stottlemyer <dereks@ic.NET>
Subject: Re: ??Paper for action models

Kevin Thorne wrote:
>
> On Fri, 4 Oct 1996, Derek Stottlemyer wrote:
>
> > I have been working on the action models in
> > Lang's the complete Book of Origami.  The size of
> > paper needed (up to 1 x 7 for the cuckoo clock) and
> > a level of difficulty the precludes the use of 1" x
> > 7" ;-) has led me on quite a such for good paper.
> > I bought some large colored paper from an arts
> > and crafts store, but it ripped very easily
> > (especially when you try the action mechanism) and
> > didn't hold creases well.  I have some colored
> > foil, but I don't really want a bright christmas
> > viking ship.  Does anyone have any suggestions?
>
>         For the cuckoo clock I used regular poster paper you can buy off
> the roll at any art store.  My model was 1'x7' so the thicker paper wasn't
> a problem since it was so large.  The thickness also prevents it from
> tearing when I use the action mechanism.  This style is okay for the
> cuckoo because only a small part makes up the action device.  But with the
> ship, almost the entire model is the action part, so rigid paper is
> definitely required.  I might suggest looking at some of the softer and
> earthy types of foil paper that Origami USA offers in their catalog as
> opposed to the typical bright colors for foil.
>
> Kevin
>
> Kevin Thorne
> Columbia, MO
>       Thanks to everyone that replied to my question.  Foil sounds like
the best bet, how do I get a copy of the Origami USA catalog?  I'm also
curious if anyone knows, what specific characteristics to ask for if I find
a place that has a large selection of papers?  Is there a name for the
characteristic of non-ripability?  If the folks who knew so much about
papers (I know their out there, from the posts of wet folding and recycled
paper) could tell me what to ask for?  I had heavy paper for the viking
ship, but it tore easily with all the folds I put into it.  Thanks again.
        Derek





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 12:18:29 -0300 (ADT)
From: rita <rstevens@philly.infi.net>
Subject: Ansill's Witch

If anyone has tried to create Ansill's witch in "Mythical Beings"  -I think
that's the title, but now after hearing about the other "Mythical" books I'm
not so sure- Could you please tell me how to sink the chin?  It seems to me
that the way the face is folded, the point that needs to be 'sunk' is
attached. (I know this isn't very clear, but I'm hoping another has bumped
into this dilemma and can either point out my mistake or guide me through
the sink).  Thanks.
Rita.





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 12:47:14 -0300 (ADT)
From: reeds@openix.com (Reeds Family)
Subject: Re: Model request

>Hello all!
>I have a special request I would like to make of the group.
>I teach language impaired elementary age children in a wonderful, brand new
>school, located right on the ocean in Queens NY.  Since we are so near the
>ocean (ocean view from the classroom :-)  our theme this year is "the ocean".
> My students have been very busy making an origami ocean, complete with fish
>and boats, for our bulletin board.  We would like to establish a display of
>things that are associated with the ocean.
>If you have any models that you would like to share with my class and our
>beautiful school please send them to :
>PS43Q
>160 Beach 29th Street
>Far Rockaway, NY 11691
>We will be recording where the models came from for Social Studies and
>writing thank yous as part of our written language program.  Thanks for your
>assistance.  I hope you will enjoy participating in our project as much as we
>are!
>Thanks to all.  :-)Barbara

Barbara--
Your request gave me the nudge I needed to simplify the Fish model I did
for the OUSA convention volume 1990, later published (to my intense pride)
in Robert Lang's ORIGAMI ANIMALS: PAPER ANIMALS FROM AROUND THE WORLD
(NYC/Avenel NJ: Crescent Books 1992), p 61.

I got rid of the petal folds in the tail and tried to diagram  the sequence
of folds so folks like me who get mixed up with left and right wouldn't
have problems . Low intermediate--helps if you know the waterbomb base. My
diagrams probably work best for a right=handed person,  but I drew them
with very thick, black lines so  in theory a leftie could turn the paper
over and and see them in mirror image.

I'm sending you the diagrams and a small school of fish (various sizes,
colors, and variations on the fins). Most of them are made out of 2-sided
foil/plastic fish-tank lining paper I found at a pet-store long ago. It's
fun to fold and quite forgiving. Feel free to copy the diagrams so every
kid can have a set.

--
Anyone else who wants the diagrams--send me a self-addressed stamped
envelope  (enough for 3 pages) and I'll be glad to send them to you.

Karen
Karen Reeds
reeds@openix.com





Return-path: <origami-l@nstn.CA>
Date: Mon, 07 Oct 1996 13:33:36 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.COM>
Subject: Re: E-mail Origami Graphics

Steve, if you mean "ASCII" (text) "graphics" like in that
signature block, you need to set your screen display font
common one is some flavor of Courier, which is an old fashioned
typewriter fixed spacing font (10 character per inch, no matter
what).

Alternatively, save the message as a text file with the "hard
carriage returns" option if you've got it, open it in
your word processing program or text editor, and make sure
you're using Courier font or any other "fixed pitch/spaced"
font.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.CA>
Date: Mon, 07 Oct 1996 13:59:55 -0300 (ADT)
From: Steven Casey <scasey@enternet.com.AU>
Subject: Re: SEOF-Yoshizawa

At 10:51 AM 7/10/96 -0300, you wrote:
>> [snip]
>> >You get one (and only one) try at making each crease.  No re-folding...
>>
>> What was his reasoning here?  If I didn't re-fold I'd never finish a model
>> (which tells you where my skill level is)...
[snip]

>> >Overall, the most distinguishing feature was a reverence for the paper.
>> >Each piece was almost a living entity with him ...[snip]
>>
>> This part seems especially fascinating.  This would also make an interesting
>> thread - what does everyone do while they're folding?  Hum?  Listen to
>> music?  What kind?  Does anyone else have a 'dialog' with the paper?
>
>       Yes, I *do* have an ongoing dialog with the paper.  It's usually
>something along the lines of:
>
>       Fold, darnit!
>       sink, darnit!
>       what the heck am I supposed to do *here*?
>       don't even *think* about tearing!
>
>Needless to say, my dialog is substantially less respectful than that Mr.
>Y. advocated.  And so are momodels.  Hmm...
>
>Kevin Kinney
>kkinney@med.unc.edu
>

 Folding is a bit like walking if you think about it too much it becomes to
mechanical. If you think about where your going it flows. So master the
mechanics of folding until you become an unconscious competent. I,m sure
even Yoshizawa had to practice (once or twice). :-)

 When I fold I marvel and enjoy the way a model comes together. Some moves
have a nice feel to them. Its like following in the tracks of an explorers
journey.
That's why I think some models are discovered rather than created.

 I find folding on my own is easier than when I,m with someone talking,
because my brain is *tuned in* to origami and not the conversation. My
dialog is with the paper..

Steven Casey
scasey@enternet.com.au





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 14:28:45 -0300 (ADT)
From: hull@MATH.URI.EDU
Subject: Re: Devil

> Does anyone know where I can find the diagrams to "Devil" by Jun
> Maekawa?

The diagrams are in the excellent book _Viva! Origami_ by Jun Maekawa
and Kunhiko Kasahara.  (The models aree by Maekawa-san, the diagrams
are by Kasahara-san.)  This is one of the MUST HAVE books, even though
it's expensive and in Japanese. (The diagrams are excellent!)  Origami
USA used to carry it, but I honestly don't know if it's still in
print or not.

--------- Tom "nutter butter" Hull
          hull@math.uri.edu





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 15:04:31 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: SEOF-Yoshizawa

At 10:21 AM 10/7/96 -0300, you wrote:
>> This part seems especially fascinating.  This would also make an
>interesting
>> thread - what does everyone do while they're folding?  Hum?  Listen to
>> music?  What kind?  Does anyone else have a 'dialog' with the paper?
>>

Sometimes I fold to music, but most of the time I prefer quiet (a rare
commodity). I seem to have problems listening and folding at the same time :->.

pat slider.





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 15:09:12 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Another Origami Sighting

ventually, she grabs a piece of paper from the kitchen counter and on
>her way through the house (in rapid motion no less) folds it into an Origami
>swan which she sails into a baby's playpen to stop it from crying.  Not
>quite the tranquil mood we try to evoke, but it still counts as a sighting.
>

oh no! In my experience, most babies like to try and eat origami :->, but
they do love the crackling of paper. Hope this lady didn't walk off and
leave the paper in the crib....

Now my 4-year-old has a fun time making models talk to each other. An
excellent fate for those not-quite-right attempts.

pat slider.





Return-path: <origami-l@nstn.CA>
Date: Mon, 07 Oct 1996 15:29:10 -0300 (ADT)
From: Doug Philips <dwp+@transarc.COM>
Subject: Folding "environemnts" (was Re: SEOF-Yoshizawa)

In message <1.5.4.32.19961007175417.006a671c@yosemite.net> pat slider wrote:
+>> This part seems especially fascinating.  This would also make an
+>interesting
+>> thread - what does everyone do while they're folding?  Hum?  Listen to
+>> music?  What kind?  Does anyone else have a 'dialog' with the paper?
+Sometimes I fold to music, but most of the time I prefer quiet (a rare
+commodity). I seem to have problems listening and folding at the same time :->

Interesting.  I prefer to fold to music, but only that which doesn't have
words.  I find lyrics to distracting, too much like talking to someone else.
But lyric-less music is perfect, because it can "absorb" as much, or as
little, attention as the paper doesn't.  During difficult parts of folding I
won't "hear" the music, but when doing, say, Sonobe units, I have more mental
energy than the paper needs and music can be the diversion/focus.

-Doug
dwp@transarc.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 7 Oct 1996 16:38:10 -0300 (ADT)
From: deg farrelly <ICDEG@ASUVM.INRE.ASU.EDU>
Subject: Netscape settings for ASCII

Steve Woodmansee writes:

>I'm hoping someone can give me some hints (Valerie?  David?) on what
>settings I might change in my netscape software to render the Origami
>graphics in my e-mail more efficiently.

If you are using Netscape as your mail reader, you can control the
appearance of your mail by changing your preferences.  If ASCII files
are viewed in a fixed font, they will appear properly spaced.

These instructions are for Netscape 2.0, on Mac.  There may be differences
if you are using a PC or earlier/later versions of Netscape.  These
general instructions should apply across platforms and/or browsers,
however.

1)  Go to "General Preferences" (Options pull down menu)
2)  Select "Fonts" (Click on "Fonts" tab)
3)  Click on "Use the Proportional Font"
     select either Monaco or Courier from the pop-up list
4)  Click on "Use the Fixed Font"
     select either Monaco or Courier from the pop-up list
5)  Click "OK"

There are other fixed fonts that *can* be used.  Courier and Monaco
are just the two most commonly used.

It may not be necessary to reset both the Proportional and the Fixed
font settings, but it takes no time to make the change and/or return
to another setting later.

I find both Courier and Monaco a little boring and flat to view.
My personal preference for print is Palatino.

Since Netscape preferences are so easy to reset, rather than resetting
your preferences permanently, (and thus have to read everything in the
fixed font) you may want to reset the preferences *only* when you have
an ASCII file to view.

Hope this information helps.

o)-(

Stickman

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