




Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 12:42:21 -0300 (ADT)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: RE: lunch bag folds: beyond "crunch and roll" folding

Hi,

> Lisa Hodsdon wrote:
>
> It's not exactly a lunch bag fold, and you can't get diagrams, but
>
> L.L.Bean uses a special fold to turn the tops of shopping bags into
> handles. It only  seems to work with a new bag (so, theoretically,
> they know if you've opened your bag in the store because you
> cannot refold the "handle.") I've heard that it's patented, but that
> may be a legend. It does seem to be a trade secret.
>
> I've never been able to duplicate the fold, but the employees do it
> very quickly--it can't be difficult, just a good trick that requires
> crisp, unfolded paper.
>
> Lisa
> Lisa_Hodsdon@hmco.com

Maybe it uses a locking fold similar to the one used for the
un-unfoldable box.

Dave

----
David M Holmes <holmes@chbs.ciba.com>
Internet/Intranet Infrastructure, Ciba-Geigy
http://www.geocities.com/Tokyo/2162
"Error: Caffeine Not Found - Programmer Halted"





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 12:45:41 -0300 (ADT)
From: trioux@whoi.edu (trioux)
Subject: THANK YOU, ORIGAMI-L!

I have been a 'lurker' on origami-l for over a year.  Since that's
a horrible way to describe oneself, I have decided to
'fess up and make my presence known.   As a way of introducing
myself, I would like to thank all of the contributors to origami-l
for sharing their knowledge of the technical and human aspects
of the art of origami with me, even though I've been totally
invisible to you.  I've had some fun adventures through this
group, but to start at the beginning...

In the early 1970's I served aboard a navy ship which was home-
ported in Pearl Harbor, Hawaii.  We spent 6 months on a 'WestPac'
cruise, making port calls at Midway Island, Japan, Korea, Taiwan,
Hong Kong, and the Philippines.  Our last stop was the Japanese
city of Sasebo, where, on a whim I purchased "The World of Origa-
mi," in English, by Isao Honda.  I say 'on a whim' because, as a
sailor, I was very much (and actually still am) into fancy and
practical marlinspike seamanship (OK, knot tying).  After trying
most of the models in the book, it ended up on a shelf, to be
dusted off every few years when I changed residences.

I did commit the traditional frog to memory, however, and after a
few beers would cheerfully make them at parties.  People would
always "ooh" and "ahh" when a little frog appeared from a square
of paper, and inflating them always got a few laughs.  Several
years ago the Japanese research vessel Yokosuka visited Woods
Hole Oceanographic Institution (my employer).  The Yokosuka is
mother ship to  the Japan Marine Science and Technology Center's
(JAMSTEC) research submarine Shinkai 6500.  At a barbecue held
for the occasion, I found myself amongst several of the Shinkai's
crew, and, well, ended up making cranes and frogs.  Most of them
knew what the crane was but didn't really know much else about
origami.  A few months later, the Shinkai's chief pilot sent me a
note along with a little origami book in Japanese:

"Mr. Terrence M. Rioux
Woods Hole, MA 02543

Deer Rioux:

Thank you so much for our fantastic stays at Woods Hole.  We
enjoyed everything: the funny and competitive volleyball games,
the big barbecue party that we have never seen, and your lovely
ORIGAMI's flogs.  We cannot tell you too often how very much we
appreciate the wonderful time you gave us.

I found the textbook of ORIGAMI in English.  I will send you the
book and a fwe ORIGAMI papers.  Please try to make another ani-
mals by ORIGAMI paper.

I'm very sorry too late to write a letter for you.  We won't
forget your hospitality.  We wish that we see you again.

Sincerely yours,

Tashiro, Shozo  SHINKAI6500 Pilot

P.S. Mr. Imai who is chief mechanic said 'Thank you very much.'"

I enclosed a Honda penguin in my thank-you letter (I had just re-
turned from a 6 week research cruise to the Antarctic Peninsula
when I received Tashiro-san's letter).  While the syntax and
phonetic spelling may be amusing to native English speakers, the
sentiment was appreciated, and I wouldn't have been able at all
to converse in Mr. Tashiro's native language!

    As you may well imagine, my long-suffering wife would get a
bit tired of the same old game and accused me of being a 'one
trick pony.'  A few years ago, she presented me with a Xeroxed
article from Discover magazine about Engel and his
"mathemetician's art"  of origami, with pictures of some of his
spectacular models such as centi- pedes and octopi.  My interest
piqued anew, and I bought a copy of "Folding the Universe" as
soon as it was available.  The text was fascinating, but I'm
afraid my eyes crossed at most of the models.  I had no idea how
complex origami had become.  She also presented me with the
listserve address of origami-l last year (being married to a
librarian has its benefits, eh?), and that's when the fun start-
ed.

Thanks to origami-l, I've accumulated a library of over 60 origa-
mi books, and visiting the bookstores was half the fun.  We found
both Sasuga outlets in the Boston area (a little hint --puff,
puff-- take the elevator, not the stairs when you get off the
Porter MBTA stop to get to the Cambridge Sasuga-- huff, puff,
puff--unless you're in training for the Mt Washington road race).
Another 'find' was the New England Mobile Bookfair in Newton, MA,
sort of a warehouse packed practically to the ceiling with books.
Even weekend getaway trips now have origami connections.  Thanks
to an origami-l posting by Janet Hamilton, we looked up a number
of addresses in New York City in August.  We found the little
Origami USA cubbyhole in the bowels of the American Museum of
Natural History (after visiting the Amber and dinosaur exhibits
upstairs, of course), and the folks couldn't have been nicer to
us.  Unfortunately, I didn't write down the name of the lady who
chatted with us and showed us around, but I got to see for myself
that it was actually possible for mere mortals to make, say, the
jack in the box or flying eagle.  We learned about David Shall
and how much he was still missed, and received lots of OUSA
literature (sent in my application the next week).  Next we
hopped on the subway to Chinatown to look up Oriental Culture
Enterprises.  I couldn't locate any origami books, but I did find
a nice dim sum recipe book with biligual Chinese/English text.
Five Eggs is now an antique shop, but Kinokuniya, near Rockefel-
lar Center was a gold mine.  They didn't have any more copies of
"Origami for the Connoisseur," but I think I got the last copy
from the Internet Bookstore a few weeks later.  We didn't get to
look for Central Art Supply or Kate's Papiere because our long
weekend was cut short by Hurricane Edouard making a bee line for
home (it veered off at the last minute, thankfully).

Since I have close and personal librarian connections, the book-
mark instructions from a posting a year ago have been well re-
ceived.  I use washi chiyogami (from Sasuga), and instead of
making the bookmark completely triangular, I leave one flap out
so that the bookmark is square on one side (to show off the washi
design) with a triangular flap to tuck the pages in.  The librar-
ians can't get enough of them.

Also, on another origami-l tip, I bought a nice silk tie decorat-
ed with multicolored origami cranes at the Boston Museum of Fine
Arts after viewing the spectacular Winslow Homer exhibit held
there last April.

I've learned that I'm not the only one to leave an origami model
along with the tip at restaurants, or to make a lot of 'origomi
rocks.'  I've been impressed to note that many origami authors
actively participate in the list.  I have bookmarks to quite a
few origami home pages and have used Alex Bateman's efficient
origami-l search engine several times.

So, even though I don't have much to say (I still get hung up on
R.J. Lang's purportedly two star (intermediate??!) models in
"Origami Sea Life" and wouldn't know a closed sink if one hit me
on top of the head), I've had a blast this past year, and I thank
you all from the bottom of my happy but often frustrated little heart!
I look forward to attending an OUSA convention some time and am thinking
about starting an origami group in Woods Hole.

Terry Rioux
Diving Safety Officer
Woods Hole Oceanographic Institution





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 12:46:03 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Paper Music

Wow, this paper dance/music idea is intriguing. (Old time radio
and theater used the cardboard thunder and other effects, by the way.)

What if the dance involved the dancers folding paper forms
(individually & as a group) as part of the dance (along the
lines of the sort of "hand ballet" fold-in-the-air technique
favored by certain Japansese Masters), perhaps culminating in
the dancers all folding themselves up into a big origami model?

(seriously :-)

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 13:25:43 -0300 (ADT)
From: contract@nyc.pipeline.com (Contractors Exchange)
Subject: Re: PLEASE HELP!!!!!

On Oct 15, 1996 09:55:50, 'oz@nettally.com (Nitschke, Florence) (by way of
Rene Besamusca <renebe@knoware.nl>)' wrote:

>My 9 year old daughter and I are looking for an origami Praying Mantis
>for a science project she is doing.  She wants her project to be unlike
>everyone elses.....most of the other kids are doing theirs in clay or
>paper mache.  Will you PLEASE help us out with a praying mantis and
>perhaps attach directions or the URL easy enough for a 9 year old to
>complete?  We want to make it fairly large..

Result of search for mantis

              La Mantide (preying mantis)      Creator: Alfredo Giunta
                 Origami gli Insetti, p. 35  By: Giunta
                 Begin w/ a sq  folding into blintz-bird base.
                 level: I  #/steps: 26  Folds: petal,r/
---------------------------------------------------------------------------

              Praying mantis                   Creator: traditional
                 Creative Origami, p. 98  By: Kasahara
                 Begin w/ a RT  folding into landmarking base.
                 level: M  #/steps: 14  Folds: rev,sq,
---------------------------------------------------------------------------

              Praying mantis                   Creator: Kunihiko Kasahara
                 Origami Made Easy, p. 80  By: Kasahara
                 Begin w/ a sq  folding into diagonal base.
                 level: M  #/steps: 22  Folds: r/e,crimp
                 A modular form needing 2non-uniform un
---------------------------------------------------------------------------

              Praying mantis                   Creator: Robert Lang
                 Origami Zoo, p. 149  By: Lang
                 Begin w/ a 1:2.707  folding into landmarking base.
                 level: C  #/steps: 58  Folds: sq,rev,peta
---------------------------------------------------------------------------

              Preying mantis)                  Creator: Hitoshi Hashima
                 La Era Nueva, p. 180  By: Kasahara
                 Begin w/ a 1/3:rad2  folding into waterbomb base.
                 level: I  #/steps: 21  Folds: crimp

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

Copyright ) 1996 Alex Bateman / agb@mrc-lmb.cam.ac.uk





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 13:25:15 -0300 (ADT)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

The 1996 OUSA Convention Annual (models by members) includes
a "gift bag" model with 2 interesting variations on the top lock.
(One in a "fox"; neat for kids lunches). I've also seen some other
variations elsewhere, perhaps traditional; been meaning to track
it down when I get some time. Interesting effects are possible
with duo paper.

--valerie





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 13:26:02 -0300 (ADT)
From: cwalker@wheel.dcn.davis.ca.us (Cindy Walker)
Subject: Re: What groups exist...

10.15.96  9:30 am PST

Hello:

I just wanted to say hello to you since you are in Cali.  I attended Colegio
Bolivar in Cali in the late 1960's.  Some of my friends at the Colegio
Bolivar were Francisco Quevedo,  Pablo Quevedo, Manuel Londono, Camillo
Vargas, and Johnny Dahlman.  I lived with Lucia De Bosi and her two sons,
Mario Antonio De Bosi and Jorge De Bosi.  If you encounter any of them, say
hello for me.

My wife is an origamist.  That is why we are members of your news group.  I
envy your weather in Cali.  So many friendly people too.  Hasta luego...

John Russell Batchelder
Cynthia Ann Walker
email "cwalker@wheel.dcn.davis.ca.us"

>
>Hello!
>Here in Colombia, most exactly in Cali Valle, we have a group named
>Asociacion Vallecaucana de Origamistas (Origamists Vallecaucan
>Asociation), our group has about ten active members. Since three years ago
>we're meeting every saturday in the morning, we haven't a fixed
>meeting place, the meetings are in the members' home. We have a weekly
>scheduling, the activities include, origami games, readings from origami
>books and magazines, to fold models by topic and so forth.
>
>This is our technical data:
>
>The group's name is : Asociacion Vallecaucana de Origamistas
>The Address : Carrera 11H 33A-57, Cali-Valle, Colombia SA
>Phone Number: 572 - 4481388
>(The address and the phone belong to Jose Arley Moreno)
>
>e-mail : (The access is mine) buitrago@maxwell.univalle.edu.co
>And I'm working in a Home Page of the association:
> http://maxwell.univalle.edu.co/~buitrago/origami.html (It's about
>                                                         origami)
> http://maxwell.univalle.edu.co/~buitrago/asociacion.html (It's about the
>                                                              group)
>
>The home page (like anymore) is not completed yet, it's in a permanent
>metamorphosis...
>
>I hope you use this information. (you can publish the address in your
>newsletters or/and magazines... we need international comunications)
>
>Thank you and good fold.
>
>Jose Tomas Buitrago Molina
>buitrago@maxwell.univalle.edu.co
>http://maxwell.univalle.edu.co/~buitrago
>
>
>
>
>
--
JOHN RUSSELL BATCHELDER
PO BOX 1154
DAVIS, CA 95617

OFC. 916 758 4836
EMAIL: "CWALKER@WHEEL.DCN.DAVIS.CA.US"





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 17:16:08 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: Golden Venture Inmate released thanks to Origami skill

>To All -
>
>Following is an aryicle from Friday's NY Times (reprinted w/o permission)
>concerning the release of a Golden Venture inmate for being an "alien of
>extraordinary ability". This item was also on "World News Tonight" with
>Peter Jennings on ABC Monday night. Now the next time
>a friend/relative/significant other derides your origami for being a
>waste of time, you'll have an answer!
>
>October 11, 1996
>
>Commentary: Paper Trail From Jail to Liberty
>
>By CLYDE HABERMAN

Thank you (whoever you are!) for posting this update on the Golden Venture.
I would hope that the origami community in the USA will make every effort to
bring these wonderful artists "into the fold" and make them welcome in their
new country. (I am assuming there will be more than one person released.)
We can start with Mr. Wu - does anyone know how to send a letter to him?

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 17:18:02 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

I've seen diagrams for a means of closing the end of a packet of
circular biscuits by Edwin Corrie.

Richard K.
(R.A.Kennedy@bham.ac.uk)





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 17:18:21 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

Peter Ford recently entered a competition posed by a packaging manufacturer
at a large show at the National Exhibition Centre. It was for a box from a
large piece of paper to hold a child's lunch. The box was also to serve as
the plate from which to eat the lunch, and finally to be used to dispose of
the rubbish at the end of the meal. Peter taught the model to a small meeting
in BIrmingham. I seem to recall it was based on a 5x5 grid. As with most of
Peter's models, there was lots of precreasing, and a very robust and elegant
model at the end. I must see if I can find my effort, and try to deduce the
folding sequence. I don't know if Peter's submission won the contest.

Richard K.
(R.A.Kennedy@bham.ac.uk)





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 17:19:11 -0300 (ADT)
From: Basyrett@aol.com
Subject: Re: Origami Models

Hello all!

A few weeks ago I made a request of origami-l members.  I asked if anyone
would be interested in cooresponding with my class of language impaired
students, by sending us origami models associated with the ocean. (our theme
for the year)  In return, we would use these models to improve our social
studies skills by located the senders on a map and to improve our writing
skills by sending a thank you.

The reply has been overwhelming.  Thank you all very much!  My students, and
their teacher, are very excited when a new piece of mail arrives. We have
started to send out our thank you letters.  Please be patient - we are
writing as fast as we can! :-)  So again to all origami folders - THANK YOU
FOR YOUR KINDNESS AND YOUR BEAUTIFUL FOLDING!!!

Barbara Syrett
PS 43Q
160 Beach 29th Street
Far Rockaway NY 11691





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 18:20:16 -0300 (ADT)
From: Oded Streigold <benjic@netvision.net.il>
Subject: RE: PLEASE HELP!!!!!

On Tue, 15 Oct 1996 09:55:50 -0300 (ADT)  oz@nettally.com wrote:
>My 9 year old daughter and I are looking for an origami Praying Mantis
>for a science project she is doing.  She wants her project to be unlike
>everyone elses.....most of the other kids are doing theirs in clay or
>paper mache.  Will you PLEASE help us out with a praying mantis and
>perhaps attach directions or the URL easy enough for a 9 year old to
>complete?  We want to make it fairly large..
>PLEASE HELP AND RESPOND AS SOON AS POSSIBLE!!!
>Thank you,
>Florence and Ivy
>
>
>

 I have a book by Yoshihide Momotani called Origami Insects.
 There is a praying mantis there made from 3 pieces of paper.
 It looks great, and is easy to fold. The book itself is recommanded-
 using the multy piece approche, realistic insects can be made rather
 easily. The book is in Japanease with English translation of the models's
 titels.

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





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 18:24:07 -0300 (ADT)
From: Oded Streigold <benjic@netvision.net.il>
Subject: Paper companies

 Hallo!

 Does someone know where do the shops that sell origami paper, buy the paper?
     Or how can I contact a paper company like Kotobuki?

 I'm thinking of buying rather large quantity of Washi or other high quality
 paper, for example, buy it rolls.

 Thank you!

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





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 20:00:11 -0300 (ADT)
From: vann@tredgar.cardiff.com (VAnn Cornelius)
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

> Peter Ford recently entered a competition posed by a packaging manufacturer
> at a large show at the National Exhibition Centre. It was for a box from a
> large piece of paper to hold a child's lunch. The box was also to serve as
> the plate from which to eat the lunch, and finally to be used to dispose of
> the rubbish at the end of the meal. Peter taught the model to a small meeting
> in BIrmingham. I seem to recall it was based on a 5x5 grid. As with most of
> Peter's models, there was lots of precreasing, and a very robust and elegant
> model at the end. I must see if I can find my effort, and try to deduce the
> folding sequence. I don't know if Peter's submission won the contest.

        What an interesting contest!  Richard, do you know how many people
        made submissions?

        V'Ann
        vann@cardiff.com





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 21:27:11 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Paper companies

On Tue, 15 Oct 1996, Oded Streigold wrote:

>  Does someone know where do the shops that sell origami paper, buy the paper?
     Or how can I contact a paper company like Kotobuki?

I've got an address for Kotobuki somewhere, but I'm not sure where!

You might try the Japanese Paper Place, though. They now have a web page.
Check them out at <http://www.ionline.net/~pmagic/jpp/>. You can order a
sample book from them, and then order from the book.

>  I'm thinking of buying rather large quantity of Washi or other high quality
>  paper, for example, buy it rolls.

Real washi is handmade with a frame and deckle, so it cannot be bought in
rolls. Machine-made washi imitations (such as Thai unryu and chiri) do come
in rolls.

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Tue, 15 Oct 1996 23:18:28 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: THANK YOU, ORIGAMI-L!

trioux wrote:
> Even weekend getaway trips now have origami connections.  Thanks
> to an origami-l posting by Janet Hamilton, we looked up a number
> of addresses in New York City in August.

Thanks for the great origami story, and I'm glad my information helped out.
     I'm a hard-core list-maker (to-do
lists, Xmas lists, origami sources, origami sightings, ...).  I try to subject m
y family to only one
origami-related stop per trip, so I haven't actually been to most of the places
     on my list.  I appreciate
updates on places that have closed, moved, or no longer carry origami supplies.
     And if you discover new
places, let us know!

Janet Hamilton

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





Return-path: <origami-l@nstn.ca>
Date: Wed, 16 Oct 1996 01:55:23 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: October meeting for Seattle's PAPER

For any newcomers or lurkers out there, the October PAPER meeting will be
Sunday, October 20 at the University Heights Community Center (5031
University Way NE), Room 107. This is room is at the north end of the
building.  I will show everybody a Tomoko Fuse modular ornament and Julie
will teach us a flasher.  If there is time and interest, I will teach my
woven maltese cross for those who didn't attend our get together in August.

As always, any newcomers and guests are welcome.  Please bring your latest
folds to share or photos or books or anything else origami. Also, a couple
of bucks to help pay for the room rental would be appreciated.  If you have
any questions or need directions to the community center, please email me at
the address below.

See you in a few weeks!

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: Wed, 16 Oct 1996 03:34:27 -0300 (ADT)
From: louderback@juno.com (Kevin W Louderback)
Subject: Re: October meeting for Seattle's PAPER

How do I go about getting dropped from this list?  I have no idea how I
was put on this list, although I find it interesting, it is cluttering up
my mailbox a great deal.

Kevin W. Louderback, EMT-P
President/CEO
Louderback Enterprises, Inc.
Louderback@juno.com
Buffalo, Missouri





Return-path: <origami-l@nstn.ca>
Date: Wed, 16 Oct 1996 05:48:09 -0300 (ADT)
From: "S.Blackman" <s.blackman@cranfield.ac.uk>
Subject: Dancers

> The Last Waltz is also diagrammed in ORU Magazine's issue number 12. This
> model is called "Shall we Dance" or "The Last Dance" in the magazine.

On page 128 of Origami 4 by Robert Harbin, there are diagrams for two
dancers. The model is colour changed and credited to Neal Elias. It is
titled "Let's Dance" in the index. I do not know if it is the same as "The
Last Waltz" as I have never seen this other model.

Regards

Stephen Blackman
Cranfield University, UK





Return-path: <origami-l@nstn.CA>
Date: Wed, 16 Oct 1996 10:59:11 -0300 (ADT)
From: MrsCalbash@aol.COM
Subject: Re: Christmas (already)

Re four colly birds:
 Colly is an archaic word related to coal.  It means soot or smut, or the
blackbird, according to the Oxford English Dictionary.  The 'calling birds'
version has come about since colly is only in use in some dialects these
days, so we switched it to something we understand.  But for accuracy and
tradition, fold blackbirds!
Leslie Blanding





Return-path: <origami-l@nstn.CA>
Date: Wed, 16 Oct 1996 15:07:13 -0300 (ADT)
From: John Smith <jon.pure@paston.co.UK>
Subject: Shared and Artistic Origami

At the recent BOS convention (September 1996) I organised an attempt to
encourage
those attending to think about superb folding as well as the seeking out of
the newest
and most complex models. To this end I asked some volunteers to fold as well
as they
could Fujimoto's marvellous cube and the classic Crane. The results were
displayed but
the folders were not identified as this was not a competition but a chance
to open up
discussion about elegant and beautiful folding.

David Brill looked at the models and gave a talk about the folding and it's
merits.
Many people found the session of great value; I know I did. David spoke of
the need in
geometric folding for precision in the folding and the need to preserve  the
beauty of
the planes of the model; there must be no detracting creases, for example.
He pointed
out that the Fujimoto cube had thicker layers one end than the other and it was
necessary to allow for this in the folding (sometimes called a fudge factor)
He showed
how, if this was not done, one end of the cube was curved.

On turning to the Crane, David said that there was again the need for precision
(including the fudge factor) in the basic folding. However the Crane
requires a lot of
interpretation and every folder is likely to choose a different angle for
the wings, the
length of the head and so on. David commented that it wasn't until he came
to try to
fold a really fine Crane that he realised how difficult it really was.

I am not sure the project was a success or not, but I gained a great deal
from David's
commentary. It was almost a master class.

I have written these notes up because today I had a letter from Paul Jackson
in which
he thanks me for a number of sequence Origami I have developed but also to
tell me a
little about his visit to Charlotte. In this letter Paul speaks of his long
and deep
discussions with Michael La Fosse and others. Paul is as fascinated as I am
by the
sequence of folds required either in a model or in the more open framework of
sequence folding. Here the focus is on the elegance and beauty of the
movements in
making the folds. I gather that his discussions touched on the idea of
separating out
shared folding from the artistic.  The characteristics of shared folding is
that it can be
taught more or less exactly; artistic folding is unique to the folder and
must involve
aesthetic judgements.

This struck a chord with me as it seemed to echo the points made by David
Brill which
I have outlined above. Obviously as David pointed out an artistic model may well
include folds which should be made with accuracy, but then follow folds  which
depend on the person making the folds. The first part is clearly shared
folding, which is
teachable, but not the second, which involves personal judgement. It is
interesting to
notice that geometric folding is shared folding but many animal folds are not.

I would be glad to hear if anyone else is interested and can contribute to the
development of these ideas.

Incidentally  regarded Charlotte as the most remarkable Origami event
anywhere in the
world, and Paul should know as he has immense experience of Origami events
world-
wide. Paul says Eric Joisel's work was a sensation, I hope Paul doesn't mind me
quoting him as saying that only Yoshizawa fold's better than Eric. We
obviously have
someone of unique gifts arriving on the scene. Paul was kind enough to send me
photographs of Eric's display at Charlotte. I can see from the pictures what
Paul
means, the folding is incredibly alive and of great beauty, but at the same
time,
obviously very complex. Clearly artistic folding rather than shared!

John.
John Smith
Norwich
England
e-mail  jon.pure@paston.co.uk





Return-path: <origami-l@nstn.ca>
Date: Wed, 16 Oct 1996 15:52:40 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

>
> > Peter Ford recently entered a competition posed by a packaging manufacturer
> > at a large show at the National Exhibition Centre. It was for a box from a
> > large piece of paper to hold a child's lunch. The box was also to serve as

>       What an interesting contest!  Richard, do you know how many people
>       made submissions?
>
V'Ann

I'm sorry, I don't. I expect to be in contact with Peter in the very near
future. I shall ask him if he received any response to his submission.

Richard K.
(R.A.Kennedy@bham.ac.uk)





Return-path: <origami-l@nstn.ca>
Date: Wed, 16 Oct 1996 18:01:07 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: Christmas (already)

colly birds -- learn something new everyday, eh? I guess in a way that make
sense. I knew some people whose last name was Collier -- they told me once
their name came from the people that worked with coal -- those that put it on
the boats, barges, whatever were called colliers... evidently, that is what
their family trade was at one time...

Origami riches yesterday -- got some great diagrams in the mail and the OUSA
Paper!!!

Dee





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 03:47:07 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: TV Champion origami contest

On Tue, 3 Sep 1996, Na. (NAKANISHI Ken-ichi) wrote:

> The 2nd Origami Champion will be broadcast by TV Tokyo at 19:30
> on September 19 JST.

I finally got a chance to watch this. It was great! (One of my co-workers
video-taped it for me. Actually, many of my friends here also taped it for
me, knowing that I was out of town--at the SEOF--at the time.)

The five contestants were Mr. Yamanashi (one of the dinosaur
enthusiasts), Mr. Miyajima (rising young star), Mr. Tanaka (maker of
origami flower arrangements), Mr. Hojo (another rising young star), and
Mrs. Honiden (origami teacher and earring maker). It was especially fun
to watch these people compete because I'd met them all at the Tanteidan
convention. Yamanashi-san and Hojo-san (together with Nakanishi-san)
helped me to teach my orca there, and Honiden-san gave me a pair of
earrings.

The competition started with an event that tested the contestants' ability
to think quickly and fold quickly. A syllable was chosen at the beginning,
and the first person had 5 minutes to fold something that started with that
syllable. The next person had to make something starting with the last
syllable of the object folded by the previous person. Yamaguchi-san was the
judge of this event. The first person eliminated received one point, the
next two points, etc. I think that Honiden-san came out ahead here.

The next event was to fold a life-sized ant based on a live subject. An
entomologist was asked to judge. After this event, Hojo-san was ahead, and
Tanaka-san was eliminated based on points.

The next event was an elimination event. Using standard 15cm (6 inch) kami,
the contestants had to build a unit origami tower of 2 metres (over 6.5
feet) that could stand for 5 seconds. Honiden-san won this event, followed
by Hojo-san. After many hours (more than 10!), Yamanashi-san and
Miyajima-san went into "sudden-death" mode, with the winner being the one
who had the tallest tower after 10 minutes. Miyajima-san lost and was
eliminated.

The final event was to make a diorama based on one large model folded from
a 5 metre square. The paper was rather thick, so the contestants had to use
rather unique techniques to fold the paper. Honiden-san used her feet and
her bottom (something the TV host commented on), while Hojo-san used a
wooden mallet to hammer the creases flat. The themes chosen were a dinosaur
scene by Yamanashi-san (based on a large sauropod-type [brontosaurus-like]
dinosaur, with several smaller dinosaurs and a fossil dig on the side), a
boat carrying Adam and Eve and the 12 animals of the Chinese zodiac by
Honiden-san (the TV host was surprised to see that Adam and Eve were
"anatomically correct"), and a video game scene by Hojo-san (based on a
large dragon with an army of skeletons fighting some warriors and a
wizard). Yamanashi-san was having some troubles getting his large dinosaur
me" in a rather abrupt tone. The final judging was by a group of
school-children and several respected origami people (although I only
recognized Yamaguchi-san). It came down to the last judge with the score at
Yamanashi:1, Honiden:9, and Hojo:9. The final winner of this TV Champions
Origami contest was Hojo-san.

It was fun to watch. Perhaps I'll be able to participate in the next one?
8)

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 05:48:13 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Shared and Artistic Origami

On Wed, 16 Oct 1996, John Smith wrote:

> I have written these notes up because today I had a letter from Paul
> Jackson in which he thanks me for a number of sequence Origami I have
> developed but also to tell me a little about his visit to Charlotte. In
> this letter Paul speaks of his long and deep discussions with Michael
> La Fosse and others. Paul is as fascinated as I am by the sequence of
> folds required either in a model or in the more open framework of
> sequence folding. Here the focus is on the elegance and beauty of the
> movements in making the folds. I gather that his discussions touched on
> the idea of separating out shared folding from the artistic.  The
> characteristics of shared folding is that it can be taught more or less
> exactly; artistic folding is unique to the folder and must involve
> aesthetic judgements.

I was privy to many of these discussions (and was the brunt of the examples,
positive and negative, that were used!). There was a definite sense of
trying to separate artistic paper folding from what Paul and Michael both
referred to as "normal" origami (I can't remember the exact descriptive
term they applied to it). Both of them have been trying to separate their
artistic work from the standard shared origami, to the point that Paul
refers to himself as a "paper-folding sculptor" and Michael talks about
"origamido", a Japanese term meaning "the way of paper folding".

> Incidentally Paul regarded Charlotte as the most remarkable Origami event
> anywhere in the world, and Paul should know as he has immense experience
> of Origami events world-wide. Paul says Eric Joisel's work was a sensation,
> I hope Paul doesn't mind me quoting him as saying that only Yoshizawa
> fold's better than Eric. We obviously have someone of unique gifts arriving
> on the scene. Paul was kind enough to send me photographs of Eric's display
> at Charlotte. I can see from the pictures what Paul means, the folding is
> incredibly alive and of great beauty, but at the same time, obviously very
> complex. Clearly artistic folding rather than shared!

Eric's work is truly exceptional. As promised, I will have photos of his
work up on the Origami Page in the next few days along with some summaries
of the Charlotte festival and the discussions Paul had with Michael (and
me!).

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 08:33:16 -0300 (ADT)
From: "S.Blackman" <s.blackman@cranfield.ac.uk>
Subject: Origami Supplies in Houston

Hi,

I will be travelling from the UK to Houston for a week in November. Could
you please let me know if there are any shops or art supply stores that
sell origami books and paper.

I have checked Sandra Wambold's list of origami suppliers but there are
none listed for Houston.

Regards

Stephen Blackman
Cranfield University, UK





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 09:38:52 -0300 (ADT)
From: reeds@openix.com (Reeds Family)
Subject: Re: lunch bag folds: beyond "crunch and roll" folding

>
>has anyone else seen/experienced/heard of lunch bag folds
>besides your basic "crunch and roll" folding method???
>
>
>  /-=-=-=-=-=-=-=-=-=-=-///plieur de papier\\\-=-=-=-=-=-=-=-=-=-=-=-\
> /=-= jack thomas weres

Here are 2   easy and fairly obvious bag folds. I use the 2nd one to close
half-full M&M bags.

I. Dog ear the two top corners to meet at the center. This makes a right
triangle, resting on its longest side. (If you have enough stuff at the top
of the bag to overlap the dog-ears, do so.)

Valley fold the peak of the triangle to the base.  Then valley fold the top
again to the baseline.Unfold to triangle stage.  You now have 3 horizontal
creases, dividing the altitude of the triangle into 4 horizontal bands.For
convenience, I'll number the creasese from the bottom as crease 1 (the
longest), crease 2 (the middle crease), and crease 3 (the littlest and
topmost crease). The bottom band is Band 1, the peak band is Band 4. Refold
Crease 3 as a valley fold and unfold.

Pull up Band 1to rest against Band 2--so you can see the underside of Band
1 .(IE you are valley folding band 1 along Crease 1--the sides of the bag
will pull inward). Valley fold on crease 2--Band 3 now rests against the
underside of Band 1 and the peak is pointing downward. Mountain fold on
Crease 3 to tuck the peak inside the pocket and crease firmyly along Crease
1 (now at the top of the bag).  This makes a fairly good lock and a pocket
for your fingers.

II.

1. Valley fold the top edge of the bag down about the width of your thumb.
Crease firmly and unfold.
Crease the vertical midline and unfold.

Call the top right  corner of the bag Corner R,   and call the
intersection of crease with right edge, R*. Left corner = Corner L.

 Mark the Left 1/3 and Right 1/3 points along the raw top edge of the bag
(don't have to be very accurate)--call them L 1/3 and R 1/3.

2. Using R* as pivot point, valley fold Corner L down to the midline.  Now
the top segment  of the original Left edge is  slanting down to the right
and ending at the midline. Call this segment L-L'. Note the little triangle
with corner R sticking out beyond the right edge of the bag--this will lock
the bag shut in Step 7.

3. Valley fold Corner R down to touch the raw edge at the L 1/3 mark.(i.e.
a crease that goes para llel to L-L' through the Right 1/3 mark of the raw
edge).

4. At the L1/3 mark, valleyfold parallel to the fold you just made.

5. Unfold steps 3 and 4.

6. Refold the crease you made in Step 4 (through L 1/3) and mountain fold
the crease you made in Step 3. This will tuck R corner around the slanting
Left edge and into the model.

7. Raise the overhang created in Step 6 and notice the  Corner R now rests
on the L1/3 point. Notice too the pocket next to what was the little
protruding triangle in Step 2.

Valley fold the protruding triangle with the triangle of the layer
underneath it; tuck both triangles into the pocket.

Bag is locked. Overhang serves as a handle.

Karen

Karen Reeds
reeds@openix.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 11:51:07 -0300 (ADT)
From: bob@maggie.pentek.com (Bob Sgandurra)
Subject: Re: TV Champion origami contest

On Thu Oct 17 Joseph Wu wrote:

>The next event was to fold a life-sized ant based on a live subject. An
>entomologist was asked to judge. After this event, Hojo-san was ahead, and
>Tanaka-san was eliminated based on points.

Did I understand that correctly, `a life-sized ant'?  How large is the
typical Japanese ant???

Very curious,
Bob
bob@pentek.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 14:27:31 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: 4-masu box cube

Hi,

I'm kicking around the idea of another origami and metaphysics class and
would like to use a cube pictured in Gay Merrill Gross' "Origami
Wiorkshop". It's created by taking four traditional masu boxes and over
and underlapping them to create a cube.

Does anyone know the origin of this? or is it simply a variation on a
traditional model?

Thanks,

Kristine
ktomlinson@platinum.com
Waltham, MA





Return-path: <origami-l@nstn.CA>
Date: Thu, 17 Oct 1996 17:29:33 -0300 (ADT)
From: Jason L Tibbitts III <tibbs@hpc.uh.EDU>
Subject: Re: Origami Supplies in Houston

>>>>> "SB" == S Blackman <s.blackman@cranfield.ac.uk> writes:

SB> Hi, I will be travelling from the UK to Houston for a week in
SB> November. Could you please let me know if there are any shops or art
SB> supply stores that sell origami books and paper.

Houston is a veritable origami wasteland.  Either the shops are hidden
well, or there just aren't any.  The best luck I've had with supplies is at
the larger Texas Art Supply store on Montrose, but they are expensive and
carry only slightly more than the standard craft store stock.  (The most
unusual thing they had was some 6" chiyogami.)  For books I've had to
resort to the standard chain stores like Borders or Bookstop.  Everything
else I've done by mail order.  I've even searched the larger Japanese
grocery stores to no avail.  Anyone else had better luck?  I remember that
Alex Barber was at one time in Houston; perhaps he's been luckier than I.
--
      Jason L. Tibbitts III - tibbs@uh.edu - 713/743-8684 - 221SR1
System Manager:  University of Houston High Performance Computing Center
                1994 PC800 "Kuroneko"      DoD# 1723





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 20:53:05 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: TV Champion origami contest

On Thu, 17 Oct 1996, Bob Sgandurra wrote:

> On Thu Oct 17 Joseph Wu wrote:
>
> >The next event was to fold a life-sized ant based on a live subject. An
> >entomologist was asked to judge. After this event, Hojo-san was ahead, and
> >Tanaka-san was eliminated based on points.
>
> Did I understand that correctly, `a life-sized ant'?  How large is the
> typical Japanese ant???

Yes, it was life-sized. Mind you, it was a fairly large ant! (It had to be
visible on TV at normal range.) The ant looked like it was about 1 cm
(roughly .4 inch) long, not including antennae.

          Joseph Wu           Faith: When you have come to the end of all the
  origami@planet.datt.co.jp   light that you know and need to step into the
 Webmaster, the Origami Page  darkness of the unknown, Faith is knowing that
http://www.datt.co.jp/Origami one of two things will happen: either there will
 Webmaster, DATT Japan Inc.   be something solid to stand on or you will be
    http://www.datt.co.jp     taught how to fly.                --Anonymous





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 21:27:15 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Shared and Artistic Origami

At 03:07 PM 10/16/96 -0300, John Smith <jon.pure@paston.co.uk> wrote:
>I have written these notes up because today I had a letter from Paul Jackson
>in which he thanks me for a number of sequence Origami I have developed but
also to
>tell me a little about his visit to Charlotte. In this letter Paul speaks
of his long
>and deep discussions with Michael La Fosse and others. Paul is as
fascinated as I am
>by the sequence of folds required either in a model or in the more open
framework of
>sequence folding. Here the focus is on the elegance and beauty of the
>movements in making the folds.

I would clarify the above to state that a folding sequence's elegeance is
not directly related to if the sequence is explicitly stated (shared folds),
or if it is open to artistic interpretation. I have seen many examples of
inetesting and fun to fold sequences, in which no landmarks are given.

>I gather that his discussions touched on the idea of
>separating out shared folding from the artistic.  The characteristics of
shared folding is
>that it can be taught more or less exactly; artistic folding is unique to
the folder and
>must involve aesthetic judgements.
>

I agree (and hope), artistic folding is unique to the folder. I would also
hope (and believe, to an extent), that artistic folding can be taught.
Perhaps this would be better phrased by saying folders can be taught to be
more artistic. Origamists (myself especially), can learn a lot from other
art forms, in terms of form and proportion, and how to be expressive within
the tight restraints of origami.

>This struck a chord with me as it seemed to echo the points made by David
Brill which
>I have outlined above. Obviously as David pointed out an artistic model may
well
>include folds which should be made with accuracy, but then follow folds  which
>depend on the person making the folds. The first part is clearly shared
folding, which is
>teachable, but not the second, which involves personal judgement. It is
interesting to
>notice that geometric folding is shared folding but many animal folds are not.
>

Perhaps I misread this, but the above seems to suggest that shared folding
is less artistic than artistic folding (subjective folding might be a less
biased phrase here). I would say shared folding derives it's artistry from
the creator, while artistic (subjective) folding derives more of it's
artistry from the folder. Just because a creator provides landmarks does not
necessarilly mean those landmarks comprimise the artistic expressiveness of
the model. All it really means is that the model is more easily duplicated.
I would maintain an exact duplicate of a piece of art holds the same
artistic value as the original (although, as an aside, it will rarely hold
the same monetary value). With origami, there is always some artistic
decision left to the folder (such as choice of paper), so an exact copy is a
rarity. My favorite analogy for this is the comparison of jazz to clasical
music. I would have a hard time saying one form is more artistic than the
other, but from the way they are created, the artistry is infused in the
pieces at various points. With the more rigorously constructed clasical
music, the composer has the most artistic command of the piece, while with
jazz, the composer often only provides a harmonic framework in which the
performers of the piece can display their artistry.

>I would be glad to hear if anyone else is interested and can contribute to the
>development of these ideas.

I could probably say more, but I will leave the above as a staring point for
feedback from others.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 17 Oct 1996 23:22:55 -0300 (ADT)
From: "Na. (NAKANISHI Ken-ichi)" <nakanish@pd.scei.sony.co.jp>
Subject: Ant Size (Was: Re: TV Champion origami contest)

> Date: Thu, 17 Oct 96 10:41:58 EDT
> From: bob@maggie.pentek.com (Bob Sgandurra)
> To: origami-l@nstn.ca
> Subject: Re: TV Champion origami contest
> Message-ID: <9610171441.AA12133@maggie.pentek>
>
> On Thu Oct 17 Joseph Wu wrote:
>
> >The next event was to fold a life-sized ant based on a live subject. An
> >entomologist was asked to judge. After this event, Hojo-san was ahead, and
> >Tanaka-san was eliminated based on points.
>
> Did I understand that correctly, `a life-sized ant'?  How large is the
> typical Japanese ant???

As far as remember, the largest ant in Japan is called "Kuro-oo-
ari" (black large ant) and is about 8mm long.  So those ant models
were made to be in that size.

--
nakanish@pd.scei.sony.co.jp (NAKANISHI Ken-ichi -- "FAMILY Given" for Japanese)





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 00:10:04 -0300 (ADT)
From: cwalker@wheel.dcn.davis.ca.us (Cindy Walker)
Subject: looking for "Creating Origami"

I've been meaning to buy J.C. Nolan's book "Creating Origami" for quite a
while and now that I've tried to order it, I've found that it's out of
print. :-(

Does anyone know if there's still a way I can get it?

--
 Cindy Walker
 cwalker@dcn.davis.ca.us
 http://www.dcn.davis.ca.us/~cwalker





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 01:48:41 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: ANNOUNCE: first working version of "rod" available on web site

Does anyone know if ROD for diagramming can be downloaded and used with a
MAC.
thanks, Dorigami





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 03:53:01 -0300 (ADT)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: looking for "Creating Origami"

At 7:10 PM -0800 on 10/17/96, Cindy Walker wrote:

> I've been meaning to buy J.C. Nolan's book "Creating Origami" for quite a
> while and now that I've tried to order it, I've found that it's out of
> print. :-(
>
> Does anyone know if there's still a way I can get it?
>

While at the South East Origami Conference, I saw an entire box of JC
Nolan's "Creating Origami", so I believe it's been reprinted.

To anyone interested in an wonderful text covering the creation of origami
models, I highly recommend this book. It includes many of Nolan's own
models as well as his drawings for several hard to find origami models that
he includes under the subject of Inspirations (Patricia Crawford's 3 Masted
Ship and Unicorn, Fred Rohm's "It's Magic", and others). JC also includes a
section providing in depth descriptions of all folding terms and concepts.
As I've said before - If I was going to teach a course on Origami, this
would be the textbook.

To find the book, try any of the following...

1) Bren Riesinger's Fascinating Folds
Telephone Number: (310) 378-0076
E-Mail Address: sales@fascinating-folds.com
Web Site: http://fascinating-folds.com/

2) Michael LaFosse's Web Site
Web Address: http://www.origamido.com

3) OrigamiUSA's Origami Source Bookstore
c/o Phyliss Meth
40-05 166th Street, Flushing, NY  11358

Hope you find the book soon.

Regards.

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
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: Fri, 18 Oct 1996 10:48:29 -0300 (ADT)
From: Lisa_Hodsdon@hmco.com
Subject: cranes for fairs

I agreed to fold some cranes to be sold as decorations at a church Christmas
fair. I folded some last year, and they sold very well, but I was uncomfortable
with the fact that they were sold for pretty close to the value of the
materials
I used. (I used a package of beautiful blue patterned washi that someone had
given me and that I hadn't found a use for in several years. I was surprised
when I looked into replacing it that it cost about $1US/sheet.)

I don't want the church to raise the price--these are a nice gift that kids
can buy for parents. I don't want to use kami, because kami cranes are only
beautiful in large numbers. So I'm looking for suggestions of good paper to use.
Reasonably inexpensive (no more than $0.50 per 6 in. sheet) but nice
enough to catch the eye of non-paper people and to look gorgeous hanging
on a tree or wherever.

I looked at artisan papers in an art supply store, but nothing seemed right
for cranes--too light, too heavy, too large a pattern, too corrugated.
I admit that I haven't yet looked in the best of the local art supply stores.
I don't remember seeing anything packaged at the OUSA convention that
caught my eye, but pre-cut squares would certainly be nice...

TIA
Lisa
Lisa_Hodsdon@hmco.com

Please, don't let this begin the "What should origami sell for?" or the
"Should we sell origami?" discussions AGAIN. No, I don't teach cranes
at the fair, because I'm never in town that weekend... I would, though.





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 12:39:01 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Fall issue of The Paper?

Hi,

Have any of you OUSA members received the fall issue of The Paper
yet?  I never got a fall issue last year and am wondering if a pattern is
developing, or if I need to be more patient :-)

Thanks,

Kristine





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 14:53:41 -0300 (ADT)
From: reeds@openix.com (Reeds Family)
Subject: Re: Fall issue of The Paper?

>Hi,
>
>Have any of you OUSA members received the fall issue of The Paper
>yet?  I never got a fall issue last year and am wondering if a pattern is
>developing, or if I need to be more patient :-)
>
>Thanks,
>
>Kristine

I got mine about a week ago--check out the diagrams for Jeremy Schafer's
Dancers, a wonderful model! I made a few and stuck them in the crack
between pieces of our dining room table to greet my kids in the morning.
Karen
Karen Reeds
reeds@openix.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 15:21:46 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: cranes for fairs

>I don't want the church to raise the price--these are a nice gift that kids
>can buy for parents. I don't want to use kami, because kami cranes are only
>beautiful in large numbers. So I'm looking for suggestions of good paper to
use.
>Reasonably inexpensive (no more than $0.50 per 6 in. sheet) but nice
>enough to catch the eye of non-paper people and to look gorgeous hanging
>on a tree or wherever.

Now is a great time of year to find nice giftwrap. I myself have had great
success in the giftwrap section at Michael's. They carry some interesting,
non-seasonal lines that I like (marbled, florals, geometrics). Cost-Plus
import stores seem to carry some unusual patterns too. Of course, there is
always Hallmark :->.

Even if you are buying an expensive roll (say 4 to 5 dollars?), the price
per square is quite economical. And the selection is huge. And it generally
folds quite well (better than some packaged paper really). AVOID THE GLOSSY
WRAP! It cracks horribly and looks very ugly. And some of the cheaper foil
papers like to crack and chip too much as well.

pat slider.
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 15:25:17 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: Fall issue of The Paper?

At 12:39 PM 10/18/96 -0300, you wrote:

>Have any of you OUSA members received the fall issue of The Paper
>yet?  I never got a fall issue last year and am wondering if a pattern is
>developing, or if I need to be more patient :-)

I just got my copy yesterday. Lots of convention news to enjoy.

pat slider





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 16:08:38 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: political folds

It's election time in the U.S.   There are lots of elephant models for
Republican folds.   Where are the donkey models for Democratic folds?

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 16:37:22 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: cranes for fairs

Lisa --

Why couldn't you get some really eyecatching wrapping paper (even a prismatic
or a great Christmas print) and cut the squares yourself? A friend of mine
uses an exacto knife and the cardboard out of a package of kami -- although
she has to replace it occasionally, but for something like this, I would
think it's perfect. It might take more time this way, but you seem to be
donating your time anyway if you are only chargine for materials. The paper
might be inexpensive enough that you could also invest in a nice thin gold
cord and make ornaments out of the cranes...

I would suggest a heavier wrapping paper and one that isn't varnished too
much.

Dee

TrekDBob@aol.com





Return-path: <origami-l@nstn.ca>
Date: Fri, 18 Oct 1996 16:37:11 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: Fall issue of The Paper?

My Fall issue of The Paper has arrived -- I think I got it two days ago. I
don't know if they mail them by area (I'm in Colorado), or if they mail them
alphabetically (I'm a Lynch)... keep your chin up and if you don't get your
copy, let someone know!

Dee
