




Return-path: <origami-l@nstn.ca>
Date: Wed, 23 Oct 1996 22:42:01 -0300 (ADT)
From: James_Sakoda@brown.edu (James M. Sakoda)
Subject: Re:Closed Sink and Stretched bird base.

>Eric asked:
>
>"Does anyone know who first came up with the closed sink?"
>
>Humm, how about a plummer??
>
>And speaking of origami gods, who needs them when we've got "kami"!
>
>(Sorry, couldn't resist!  Maybe someone in a more serious mood could
>answer your question?)
>
>Kristine
>ktomlinson@platinum.com
        The closed sink causes difficulty when one sinks the point of a
bird base, for example, and then tries to close the opening by moving the
sunken center off to one side.  This at least is my understanding of its
recent use, which I have not followed closely.  In Modern Origami (1969) I
used what I came to call the stretched bird base, which ends up as a closed
sink.  The bird base is pulled apart by two side flaps and the center
square flatted out.  A horizontal valley fold is made stretching from the
tip of one of the side flaps, through the center square to the tip of the
opposite side flap.  The edges of the stretched bird base are then put
together, amd turned to the underside, showing the folded edge running from
one side to the other, crossing the center square.  To complete the
stretched bird base the center point is pushed toward the top flap, and the
side flaps moved down to sit side by side on the lower flap.  The center of
the center square is caught inside the top flap, and the two side flaps are
freed to move freely from its base.  From the stretched bird base position
one can also achieve the open sink  more easily than by pushing the center
of the bird base from the top.  The bottom flap is brought up to meet the
top flap and the two side flaps are brought together  down below.  About
the bird base I wrote in Chapter IX, Page 108:
        "The st retched bird base has an effect similar to the bird base
with a sunken point:  the center point disappears.  Instead of revealing
the center square, however, the stretched bird base leaves two swinging
flaps side by side.  This makes possible the long legs of the standing
crane.  The legs and the neck of the crane are made to appear even longer
by using foil paper and adding additional narowing folds.  More than any
other figure, the standing crane reveals the beauty in long, straight and
narrow limbs.
        "The beauty of the straight line is also evident in the praying
mantis, but here it is the narrowing of the body which provides the
straight lines b ent at an attractive angle.  The roadrunner is clearly a
modification of the standing crane.  The angle at which the legs are
stretched apart gives it a sense of motion and the comical appearance
associated with the desert bird.  The pelican is a modification of the
praying mantis, with the exaggerated bill to help in its identification.
        "The two long flaps are folded outward to form the clasws of the
lobster.  Similarly, in the crucifixion the two flaps are narrowed down to
form outstretched arms, a bit of accordion-folding is necessary to form the
narrow neck, to show the head handing to one side.  The Constant Tin
Soldier, standing up straight on one leg, has the typical diamond-shaped
head and the foot used in the owl.  The two long flaps are used to form the
arms.  Anyone interested in the source of the name should look up the story
by Hans Christian Andersen.  He would then look forward to the folding of
the ballet dancer, which is shown later."
        I apologize for the long quotation, but I thought it would be
useful to some because the book has been out of print for some time.  The
closed sink then has a respectable history, although some will question the
use of the term stretched bird base, since the two sides points are really
not stretched longer than the top and bottom ones.  The two side flaps can
be stretched and the top and bottom ones greatly shortened.  James M.
Sakoda.





Return-path: <origami-l@nstn.ca>
Date: Wed, 23 Oct 1996 22:46:56 -0300 (ADT)
From: Kevin Lee Willis <klwillis@netcom.com>
Subject: _-^-_ 8-legged Crab _-^-_

Does anyone know where on the WEB I can find instructions on how to
make an 8-legged crab?

Appreciatively - Kevin Willis

**********************____ O/ __         "Beauty is truth, truth beauty,
* klwillis@netcom.com **   (\   --_       that is all/Ye know on earth,
**** "Net Surfer" ******* __/)___  -_____ and all ye need to know".
**************************~~~~~~~~~~~~~~~                    -John Keats





Return-path: <origami-l@nstn.CA>
Date: Wed, 23 Oct 1996 22:54:57 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.CA>
Subject: Re: Shared and Artistic Origami

Michael & Janet Hamilton wrote:
=20
> The distinction between shared and artistic folding, as I understan=
d the discussion, was that shared folding
> generally used exact landmarks and thus could be easily duplicated,=
 whereas artistic folding relied on more
> judgment folds and optional embellishments.  Of course, many people=
 have pointed out that even models with
> exact landmarks may become artistic due to choice of paper, folding=
 method, or the decision by the folder to
> ignore the landmarks or make other personal modifications.

I guess I am not completely satisfied with this answer.  Though I=
=20
appreciate your presence on this question.  I am worried about this=
=20
"shared" thing.  I would not want it to lessen the pointing out of=
=20
someone folding a most simple model by the most transmitted landmarks=
=20
with the plainest white paper.

Jean Villemaire, Montr=E9al
boyer@videotron





Return-path: <origami-l@nstn.ca>
Date: Wed, 23 Oct 1996 23:02:14 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Various ...

At 10:49 AM 10/23/96 -0300, Kristine Tomlinson <ktomlinson@platinum.com>wrote:
>Eric asked:
>
>"Does anyone know who first came up with the closed sink?"

I have been curious myself about when certain folds camer into vogue. The
closed sink is an interesting case to examine, as it is a relitivly modern
technique. I have seen occasional occurences of the procedure back from well
over 20 years ago (I have promised myself to make a mental note on the next
time I see it used in an older model). I would say such cases used the
closed sink (as opposed to the open variety), only because it was the only
logical way to do the fold (i.e., in such cases it would be easier to do
than an open sink). It is important to note the term *closed-sink* only
seemed to appear as recently in the mid 1980's. I remember designing models
in the early 80's, and making references to *sinking without seperating all
of the layers* (or something to that effect). It was sometime around 1987
that I saw the term *closed-sink* used in a model by Robert Lang. I liked
the term, and quickly adopted it in my own diagrams (any comments on this
Robert?). Staying within the same subject matter, I think I might have been
the one who first used the term *closed reverse fold.* Perhaps some of this
will become clearer in years to come.





Return-path: <origami-l@nstn.ca>
Date: Wed, 23 Oct 1996 23:25:05 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Dumb Question About the Archives

At 03:58 PM 10/23/96 -0300, Steve Woodmansee wrote:
>I'm sure this question has been answered many times, but how I go about
>getting a comprehensive index of everything that's on the Origami archives?
>
>Also, I've heard many references to Alex Barber's search engine on this list
>- what is it and how do I use it

This engine can be found at:

http://www.mrc-cpe.cam.ac.uk/jong/agb/origami.html

At the bottom of this page is an engine for searching the archives, and
another one for searching the model index. As far as search engines go, this
one is about as straightfoward as they come. You just simply enter a search
string into the field provided (or if you wish, another word into the other
proveded field), and when you send the info, a listing will come back with
the occurences of your word. Alex also provides some boolean operators (AND,
OR, NOT, ect.), to help narrow down your search.

If you want, you can do a search on how many times Alex's page received a
mention; you just might discover you were the first one to inquire about
it's use.

Marc





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 00:22:17 -0300 (ADT)
From: Slade Hikaru Shota <shota@hawaii.edu>
Subject: Small Bells

Does anyone know where my mom can purchase small Japanese bell that she
uses for her origami creations?  The ones here in Hawaii are of low
quality.  Maybe if you know some wholesaler from Japan or someone who can
get Japanese products.





Return-path: <origami-l@nstn.CA>
Date: Thu, 24 Oct 1996 00:26:14 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.CA>
Subject: Re: _-^-_ 8-legged Crab _-^-_

Kevin Lee Willis wrote:

> Does anyone know where on the WEB I can find instructions on how to
> make an 8-legged crab?=20

At the Origami Interest Group, by courtesy of Rijksuniversitatm Groni=
ngen=20
(RUG), there is an index of origami models which states 21 references=
 of=20
crabs in different books.  They wouldn't say how many legs each of th=
em=20
has neither would they have any folding instructions on their site=
=20
(though they have quite a number of other models available, the USS=
=20
Enterprise, for instance).Their Web-site is:

=09ftp://ftp.rug.nl/origami/welcome.html

Jean Villemaire, Montr=E9al
boyer@videotron





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 04:11:46 -0300 (ADT)
From: Wayne Ko <Herman_Ko@mindlink.bc.ca>
Subject: Origami Sighting/Frustrations

I was looking through the local newspaper the other day and came across a
recycling ad.  Anyways, this whole page blurb was encouraging the need to
recycle and one small line read that Origami is nice but tough to do with
telephone books or something to that effect.  What got my attention was a
set of diagrams for the traditional crane, but it was incomplete! The first
step shows a square being folded along the diagonal and then the next
diagram is the completed preliminary base! I thought that it was rather
irresponsible as many non-folders may have a bad experience trying to follow
the diagrams.  Needless to say I wasn't too impressed - this kind of made me
think how ignorant a lot of people are to the true beauty and seriousness of
this art form!  This also, triggered my memory about a slight disagreement I
had with an university professor (a long long time ago) who felt that
Origami was not a true art form and discouraged me from incoporating it into
an "arts" lesson plan/project.  As my grades were on the line, I had to
comply.  Forgive me for ranting, I just had to let out some steam.

Wayne





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 09:53:23 -0300 (ADT)
From: flylo@juno.com (Martha E Wells)
Subject: Re: Small Bells

Are you talking about the 'cowbell' type open bottom with clapper?  Are
you needing 'jingle bells', or the Swiss sleigh bells in miniature?
someone who supplies to florists probably could order or let your Mom
know their suppliers.  I constantly look for sturdy (but much larger)
bells for my goat herd, and have come across some pretty ones that are
too small and delicate for my needs.
India, Pakistan, Sri Lanka are all likely exporters of bells also. I have
an acquaintence who writes from Sri Lanka, and I'll post your query to
him.

martha





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 10:56:34 -0300 (ADT)
From: bob@maggie.pentek.com (Bob Sgandurra)
Subject: Re: marbling

Hi All,

One product that wasn't mentioned (I think) during the discussion on marbleizing
was Dr. Ph Martin's Marbleizing Kit.  It contains a complete set of colors
(about 15), 2 bottles of suspension liquid, a bottle of preparation liquid, a
brush and a comb (for creating patterns) and a tub (about 2-3 quarts) to do it
in.   I'm not sure if the materials supplied are traditional or if there are
more sophisticated techniques, but this kit is VERY simple to use and works
great.  Just...

- pour the suspension liquid in the tub with or without diluting with water.
- apply the preparation liquid to one side of the paper.  I have had good
  results with standard kami.
- while the prepared paper is drying, float the colors on the surface and create
  a pattern.
- lay the paper, prepared side down on the floating colors and then lift the
  paper off of the liquid.  Only the prepared side of the paper will retain the
  color.

The colors are liquid so you can brush them on as a solid color to the paper
also.  This leads to great combinations with things like Fuse boxes where 2
panels are one solid color, 2 panels are another solid color, and 2 panels are a
marble pattern of the two colors ... you get the idea.

Anyone who is into boxes or modulars should try this!  This kit costs about $30
and it includes everything you need.

Happy dipping,
Bob
bob@pentek.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 11:55:39 -0300 (ADT)
From: Tim Rueger <rueger@areaplg2.corp.mot.com>
Subject: Re: Clarification of Lang's dragonfly

Hi,

I don't have my copy of OI handy, but I'll bring it in to work tomorrow
to answer the instruction questions.

>>>>> "mw" == Michael Wareman <mwareman@ADMIN.OLDSCOLLEGE.AB.CA> writes:

    mw> Finally, I have origami paper but does not seem to be square.
    mw> Often there is a difference of only 1/2 millimeter to 1
    mw> millimeter.  This can make a big difference later on with some
    mw> of Lang's models.  How do some of you deal with this slight
    mw> inaccuracy?  Am I doing something wrong when I am folding the
    mw> paper diagonally?  (This is when I notice that the paper is not
    mw> square!!)

A few comments regarding non-square paper:  It's the fractional error,
not the absolute error that counts.  I find I can fudge about 1mm on a
10" (25cm) square.

Generally, for complex models you're more concerned with locally
accurate creases vs. globally accurate creases.  What is most often
important with a main diagonal crease is to get accurate angle bisection
in the corners, and accurate distance division from the corners to the
center.  (Obviously there's a limit to how much error you can tolerate,
but if you can limit the scope of the errors, you have a better chance
of successfully completing the model.)

Here's how I get good diagonal-fold results with slightly non-square
paper.  I fold it in three segments: sharply in one corner, then sharply
in the opposite corner, and finally sharply near the middle.  Join the
segments with soft creases.

    A +------------+ B
      |\           |
      | \          |
      |  \         |        That is, 1) fold edge AD to edge AB to
      |   \E       |        get the bisector at corner A correct;
      |    \       |        fold only near the corner, up to about
      |     \      |        point E.  2) fold edge DC to edge BC,
      |      \     |        creasing to point F.  3) fold corner D
      |       \F   |        to corner B, and crease between points E
      |        \   |        and F.  4) Smooth it out lightly.
      |         \  |
      |          \ |
      |           \|
    D +------------+ C

Hope this helps...
-Tim
--
Tim Rueger             Motorola CCRL IC Design Laboratory, IL02-2921
Fax  : (847) 538-4593  Internet: rueger@areaplg2.corp.mot.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 18:50:44 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: Closed sinks

Eric asked:

>"Does anyone know who first came up with the closed sink?"

And Marc commented,

>>>>
..It is important to note the term *closed-sink* only
seemed to appear as recently in the mid 1980's. I remember designing models
in the early 80's, and making references to *sinking without seperating all
of the layers* (or something to that effect). It was sometime around 1987
that I saw the term *closed-sink* used in a model by Robert Lang. I liked the
term, and quickly adopted it in my own diagrams (any comments on this
Robert?)...
<<<<

Since you asked...the first _usage_ of a "closed sink" is probably lost in
the mists of antiquity and ambiguity; as Dr. Sakoda observed, the "stretched
bird base" (which was identified as such by Harbin by 1963, if not earlier)
is arguably a closed sink. I'm sure the general concept of inverting a corner
without flattening it along the way has been used many times by many folders.

The history of this particular _term_ is more recent. I started using it in
the mid-80's because I needed a name for this "thing" I kept doing in my
designs, and "closed sink" seemed pretty descriptive. What was logical and
descriptive to me could have been logical and descriptive to someone else;
and so although my recollection is that I came up with the term, it wouldn't
surprise me to find out that someone else already had.

However, I'm quite sure I'm the first to introduce the term "closed _unsink_"
to describe that fun (?) thing you do a buncha times in my Sea Urchin, among
others.

Robert





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 18:54:19 -0300 (ADT)
From: Jack & Emma Craib <gearhead@snet.net>
Subject: Re: marbling

Hi , My mail programs are screwy so I may still be missing some mail but
wanted to clear up this marbling definition problem...
Floating oil based pigments on water may or may not be marbling
depending on how loose you are.  It is sort of a oil suminagashi
really.  There have been for the last 20 years or so Swedish "marbled"
papers which are oil based.
The gelatinous size that is used in traditional marbling (Persia was the
first heavy hitter in marbling...check out the papers the Houghton
library has at Harvard) is used because it allows sophisticated control
of the pattern.  The early papers included examples of botanical
illustration which are amazing.  I've tried it...phew!!!!!!
It is hard but you could do anything you want assuming you can draw.

Oil on water is fun, fast, easy and produces good papers of a more
limited range of patterns.    Em





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 19:05:20 -0300 (ADT)
From: Oded Streigold <benjic@netvision.net.il>
Subject: Re: Shared and Artistic Origami

=20
  Jean Villemaire wrote:
=20

>I guess I am not completely satisfied with this answer.  Though I=20
>appreciate your presence on this question.  I am worried about this=20
>"shared" thing.  I would not want it to lessen the pointing out of=20
>someone folding a most simple model by the most transmitted landmarks=20
>with the plainest white paper.
>
>Jean Villemaire, Montr=E9al
>boyer@videotron
>

 The term shared means that the model can be shared by many people, and=20
 duplicated many times in a simmilar way, because it has exact landmarks.
 In my last massage, I pointed out, that I think that there is art in      =
   origami even without choosing of paper, context of the model, judgment  =
     folds etc. There is art in the actual folding.

 Oded
 benjic@netvision.net.il





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 19:22:22 -0300 (ADT)
From: "ANITA L. HAWKINS" <ahawkins@welchlink.welch.jhu.edu>
Subject: Re: marbling

On Thu, 24 Oct 1996, Emma Craib wrote:
>
> Oil on water is fun, fast, easy and produces good papers of a more
> limited range of patterns.    Em

All you need is oil paints, turpentine or other thinner, and a basin you
don't mind getting colorfully messy! It's a great way to use up oil paint
bits leftover on a pallette, or from your kids' paint-by-number
leftovers. In fact, buying a paint-by-#s kit can be a good cheap way to
get a range of colors... if you aren't too embarrassed to be seen with one!

Makes the _greatest_ frog paper!!!

Anita
Havre de Grace, Maryland





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 20:59:59 -0300 (ADT)
From: Richard of Foong <ryf@ecr.mu.oz.au>
Subject: Re: marbling

Hi All,
        My sister has a marbling set, which has several colours and a
small round disc, which you float the paint on. Is this the same method as
just putting paint in a tub? The instructions say that if the paint is not
on the paper, the paint will just sink to the bottom of the pan. Hmmm, but
its really cool anyways.

Richard Foong.





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 21:14:28 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: Re: marbling

Speaking of "marbling" :->....

My children a week or so ago took some marbles, dipped them in tempura, and
then rolled them around on a sheet of paper set in a box. This method
produced a "Jackson Pollack" kind of design. The tempura is a little too
crusty to fold, but I am thinking it might be fun to roll some marbles on
some kami using some other kind of paint or ink.

Couldn't resist posting this,

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 21:28:31 -0300 (ADT)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: New cutting template and "fabric grips"

Just bought a great new template/ruler at the local quilting store. It's
designed for cutting equilateral triangle of different sizes (1" to 6").
It's called an "Easy Three" by Sharon Hultgren for those interested.

While I was buying it, I asked if the salesperson knew of some secret method
to stop rulers from slipping. She pulled out a package containing small,
self-adhesive circles of fine sandpaper. They are marketed as "fabric
grips", and look to me like a great solution to the slippage problem.

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 21:59:25 -0300 (ADT)
From: Peter Ansoff <72460.1665@compuserve.com>
Subject: Ichthyosaurus, Sailing Ships and Zeppelins

Greetings, everyone.  This is my first post to the list.

I am working through Fumiaki Kawahata's "Dinosaur Origami" and have a problem
with the Ichthyosaurus (pp 6-8).  The folds seem straightforward, but when I
unfold the forward fins (step 23 on page 8) I have an large extra flap behind
the fins.  I've retraced steps 15-23 carefully and can't seem to locate the
trouble.  Can anyone help?

New subject:  I saw a couple of references in the latest  "The Paper" to a Full
Rigged Ship model.  Are diagrams for this model available?  I have a lifelong
interest in sailing ships (*another* of my strange hobbies) and would like very
much to try it out.

Also, does anyone know of any origami models of airships (blimps, zeppelins,
etc.)?

Thanks,

Peter Ansoff
72460.1665@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 22:15:38 -0300 (ADT)
From: dzimm@comedy.widget.com (Dave Zimmerman)
Subject: Re: Ichthyosaurus, Sailing Ships and Zeppelins

from 'Peter Ansoff'
>
> Also, does anyone know of any origami models of airships (blimps, zeppelins,
> etc.)?
>
Blimps are easy! We call them "cabbages" or "boulders". I understand
that some others call them "crushigami".     ;-}

--
--
\ The    _____
 \  /\  /idget
\ \/  \/ _______        David Zimmerman           The Widget Workshop
 \  /\  /orkshop        dzimm@widget.com          4001 Weston Parkway
  \/  \/    Inc.        919 677 1942              Cary NC 27513
--
 "All the forces in the world are not so
     powerful as an idea whose time has come."
         -- Victor Hugo





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 22:26:31 -0300 (ADT)
From: Sally Sloley <dasyprnces@earthlink.net>
Subject: Thanks from Seattle!

Thanks to everyone who wrote back about the origami groups in Seattle.  I'm
still trying to settle in and learn my way around, but I hope to meet up
with the groups in the near future.
Thanks again!
SALLY
******************************************************************************
*                                   Sally                                    *
*                           dasyprnces@earthlink.net                         *





Return-path: <origami-l@nstn.ca>
Date: Thu, 24 Oct 1996 22:41:15 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Shared and Artistic Origami

Oded Streigold wrote:
>
>  The term shared means that the model can be shared by many people, and=20
>  duplicated many times in a simmilar way, because it has exact landmarks.

I thank you for making that clear to me.

>  In my last massage, I pointed out, that I think that there is art in      =
>    origami even without choosing of paper, context of the model, judgment  =
>      folds etc. There is art in the actual folding.
> Maybe would you agree on not reserving the "artistic" adjective for only
one type of folding. We could talk about "shared origami", of course,
and, then,  "freefolding origami" if there are no strict landmarks at
some point or whatever...  Still, I am glad to get, for the first time in
my 25 years of folding, this far in a serious conversation about our
common art.  Thank you.

Jean Villemaire, Montreal
boyer@videotron.ca

p.s. BTW, where do you write from ?





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 02:30:25 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Folding Crane (was: Re: Shared and Artistic Origami)

Doug Philips quoted James Sakoda:

> +gentle nun, the dignified owl.  Of the traditional Japanese folds the one
> +which is most admired for its attractiveness is the folded crane (orizuru),
> +which is folded precisely in a way which can be easily taught.

I have taught this model to children.  In fact, I first emphasized the
version in wich the bird flaps its wings by pulling head and tail.

I thought of the simple tsuru as a perfect example of purity and grace.
Untill I found in Kasahara's Origami Omnibus a complete chapter on cranes.
The traditional tsuru then became an abstract.  It was as if I was going back
to the nature of the real thing.   This paper experience allowed me to meet a
whole world that had been compressed in just a few traditional landmarks.
All of the crane was beginning to unfold.

One would think this has to be the end of my delirium.  Well, it is not.  One
day, in a bookstore, I found a book on cranes in the children's corner, Les
Quatre Saisons des grues du Japon [ The Four Seasons of Cranes in Japan ] by
Shigeaki Sasamori.  Very few text but tremendous photographs.  This is a book
on birds.  I stared at each of the pages, just amazed by the resemblance with
Kasahara's.  Going back and forth, from nature to its folded expression to
nature...  I guess one can fold so close to the real only if he intimately
relates to it.  BTW, I was so caught up in that matter that I found out how
to modifie the Crane in flight - p. 133, a peak in the chapter - so that head
and legs would appear in black.

Then, I begun my way back to the tsuru.  I am now sure that each step in this
folding was intentional, nothing seems to be left to pure chance. I changed
my way of showing this model to anyone, youngsters or elders, interested in
folding a flapping bird.  I set them a goal when working a shared model to
get it each time neater than the time before.  In that way, I hope to get
them to realize they are in an artistic process as they tend towards the
perfectly formed crane.  And if it wasn't enough, I would insist they trie to
perform sembazuru.  Children first urged to get on it. Suddenly, they saw an
unlimited field of achievements.  Maybe they needed that after all.

I'm sorry if this seemed boring to anyone.  I guess you had to be there.

Jean Villemaire, Montreal
boyer@videotron





Return-path: <origami-l@nstn.CA>
Date: Fri, 25 Oct 1996 10:43:35 -0300 (ADT)
From: Brett Askinazi <askinazi@i1.NET>
Subject: Re: Ichthyosaurus, Sailing Ships and Zeppelins

I have the dinosaur origami book, I'll try the Icthyosaur and see if I have
any trouble.

I have folded alot of the other models in the book.

Which is your favorite ?

Brett
askinazi@i1.net





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 13:26:52 -0300 (ADT)
From: Sy Chen <sychen@leatherback.nist.gov>
Subject: A 2-D Pumpkin Face

Dear Folders,

I just uploaded my version of Pumpkin Face diagram to ftp.rug.nl
/origami/.incoming directory for the upcoming Halloween! I do expect some
similar design existed in the origami world due to its simplicity. (Tell me
about this!) For myself the pleasure of designing is more than regular folding.

The diagram is in color gif format. I am not sure about its printout using
b/w printer. I will upload a better grayscaled vesrion then. My web page
will expire soon and its new home has not yet been decided. An EPS version
can be uploaded if I do get some requests.

Happy Holloween!

Sy Chen





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 14:48:05 -0300 (ADT)
From: RA Kennedy <kennedra@isdugp.bham.ac.uk>
Subject: Re: Ichthyosaurus, Sailing Ships and Zeppelins

>
> Greetings, everyone.  This is my first post to the list.

Welcome.

> New subject:  I saw a couple of references in the latest  "The Paper" to a
     Full
> Rigged Ship model.  Are diagrams for this model available?  I have a lifelong
> interest in sailing ships (*another* of my strange hobbies) and would like
     very
> much to try it out.

This probably refers to Patricia Crawford's ship. The diagrams appear in
Robert Harbin's "Origami, a step-by-step guide". This book is now out of
print, but should be available from a good public library. I think the model
is also diagrammed in Jay Nolan's "Creating Origami". Another version on the
same theme is by Martin Wall, and can be found in Eric Kenneway's "Origami:
Paperfolding for Fun", 1st. edition, which I'm afraid is also out of print.

Bye

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





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 15:17:54 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: Origami Sighting/Frustrations

Wayne --

Perhaps you should get in contact with the advertiser or the sponsor of the
page, and explain -- nicely -- how you feel about important steps being
deleted from the diagrams. Make you feel better, possibly open their eyes...
never know.

Dee





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 15:28:36 -0300 (ADT)
From: chall@scsn.net (Carol Hall)
Subject: Re: New cutting template and "fabric grips"

>Just bought a great new template/ruler at the local quilting store. It's
>designed for cutting equilateral triangle of different sizes (1" to 6").
>It's called an "Easy Three" by Sharon Hultgren for those interested.
>
>While I was buying it, I asked if the salesperson knew of some secret method
>to stop rulers from slipping. She pulled out a package containing small,
>self-adhesive circles of fine sandpaper. They are marketed as "fabric
>grips", and look to me like a great solution to the slippage problem.
>
>pat slider
>slider@yosemite.net
>

I was using my quilter's ruler and rotary cutter yesterday to cut a bunch of
4.5 inch squares and started thinking about who uses these quilting tools
and who might be avoiding them. (Surely it isn't a gender thing :-) !)

For those who don't know about these tools, they are derivatives of drafting
tools, modified for patchwork quilting.  The requirements of patchwork are
to cut precisely small pieces of fabric so that they can be accurately sewn
together.  Most patchwork is based on precise squares, although more recent
designs go beyond this in using all sorts of angles.  But precision in
cutting and measuring is common to all designs.  See any similarities with
origami????

The quilting rulers come in various sizes and most are designed to be used
with hand-held rotary cutters (or exacto knives) and cutting mat - meaning
that they are made of the same lexan (thick plastic) that has been discussed
on this list.  But instead of being plain, clear plastic, they are ruled
down to quarter or eighth inch increments in both directions (plus the
occasional line for 45 or 60 degree angles).  This means that accurate 90
degree angles can be found anywhere along the length or width or center of
the ruler (the whole thing is a grid).  In addition, they are usually at
least 5 or 6 inches wide (and 15 to 24 inches long), useful in holding down
unruly fabric or curled paper.

As Pat noted, grips are available to better hold the ruler against whatever
you are cutting.  Suction-based handles are also available to help hold them
steady. Some have lips underneath like a T-square to hold them against the
edge of a cutting mat or drafting board.

These rulers also are available in perfect squares of various sizes (again
ruled in both directions) as well as configurations like a 6 inch wide ruler
with one end cut at a 45 degree angle. There are 45-90 degree triangles and
60 degree triangles (ruled parallel to all three edges).  There is a new
square version available which actually has slits every inch - you can
insert the rotary cutter into the precision slit and cut your paper with the
cutter held steady on both sides by the ruler.

I find these rulers to be far more versatile than plain, unruled drafting
tools. Those are great for cutting accurate corners and edges, but if you
need to measure anything, you must use other implements.  These tools are
complete within themselves- you can measure and cut in one step.

Now, the drawback (for some at least) is the fact that they are found in the
sewing sections of craft stores or in fabric or quilting shops rather than
in the architectural/blueprint/drafting markets.  I've known some folks who
refuse to use them because they don't want to go to where they can buy them.
My advice is: don't let that stop you!!!  These things will show up
eventually as regular drafting tools (as soon as they can figure out a way
section, take a look at the other tools available - many are quite useful
for origami.

Carol Hall
chall@scsn.net

Anyone interested in "Learning mathematical and spatial skills through
traditional feminine socialization" get in touch privately - we can talk
about a paper I gave a few years ago to a women in engineering conference.





Return-path: <origami-l@nstn.ca>
Date: Fri, 25 Oct 1996 17:02:18 -0300 (ADT)
From: jtweres@lucent.com
Subject: Re: Small Origami Cranes

fellow folders,,

> Would anyone be interested in purchasing small origami cranes from my
> mother?  The cranes are made out of paper 1/4-1/2 inches square.  The
> crane also comes in a little bottle with a bell attached.  I think she
> charges $5 with a small shipping fee.

now that's one way of getting around
paying the model's inventor for usage rights
-- use a traditional/centuries old model
   where the originator is long gone

of course
         we'll probably see email
         that this is in fact
         NOT THE CASE
         and that someone from somewhere has actually bought the rights

i would be glad to be wrong
about the above statement

  /-=-=-=-=-=-=-=-=-=-=-///plieur de papier\\\-=-=-=-=-=-=-=-=-=-=-=-\
 /=-= jack thomas weres                         jtweres@lucent.com =-=\
/=======================\\\================///=========================\
"Let Go and Let Fold"                             "One Crease At A Time"





Return-path: <origami-l@nstn.CA>
Date: Fri, 25 Oct 1996 23:48:01 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.CA>
Subject: Re: Small Origami Cranes

jtweres@lucent.com wrote:

> now that's one way of getting around
> paying the model's inventor for usage rights
> -- use a traditional/centuries old model
>    where the originator is long gone

You are right on this...  Well done!  I still hope that person meant =
to=20
praise her grandmother's work.  I know how difficult it may be for so=
me=20
elders to find social recognition or simply have enough money to live=
 on. =20
=20
> of course
>          we'll probably see email
>          that this is in fact
>          NOT THE CASE
>          and that someone from somewhere has actually bought the ri=
ghts
>=20
> I would be glad to be wrong
> about the above statement
>=20
>   /-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-///plieur de papier\\\-=
=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-\

Now, this is the fist mention in french I've ever seen on this list s=
ince=20
last week when I registered.  I am from Montreal, Quebec, and I sure=
=20
appreciate it.  In fact, je me demandais si plusieurs francophones=
=20
fr=E9quentaient cette liste.  J'ai d=E9j=E0 fait un appel =E0 ce suje=
t il y a pr=E8s=20
d'une semaine.  I would be glad to read more about origami in french.

>  /=3D-=3D jack thomas weres                         jtweres@lucent.=
com =3D-=3D\
> /=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D\\\=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D///=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=
=3D\
> "Let Go and Let Fold"                             "One Crease At A =
Time"

Jean Villemaire <boyer@videotron.ca>





Return-path: <origami-l@nstn.ca>
Date: Sat, 26 Oct 1996 12:10:27 -0300 (ADT)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: LARGE Origami Cranes

Slade Hikaru Shota <shota@hawaii.edu> sez

>Would anyone be interested in purchasing small origami cranes from my
>mother?  The cranes are made out of paper 1/4-1/2 inches square

My brother makes them from 36m gold leaf, they cost $87,500 each. Orders
all the dosh,

Nick Robinson

Origami, Improvised Guitar, Internet consultancy and Web design!

email           nick@homelink.demon.co.uk
homepage        http://www.rpmrecords.co.uk/nick
BOS homepage    http://www.rpmrecords.co.uk/bos/
DART homepage   http://www.shef.ac.uk/uni/projects/oip/dart/
RPM homepage    http://www.rpmrecords.co.uk





Return-path: <origami-l@nstn.CA>
Date: Sat, 26 Oct 1996 13:30:35 -0300 (ADT)
From: casida@ere.umontreal.CA (Casida Mark)
Subject: Re: plieur de papier

Jean  Villemaire a ecrit :

> >   /-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-///plieur de papier\\=
\-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-\
>=20
> Now, this is the fist mention in french I've ever seen on this list=
 since=20
> last week when I registered.  I am from Montreal, Quebec, and I sur=
e=20
> appreciate it.  In fact, je me demandais si plusieurs francophones=
=20
> fr=E9quentaient cette liste.  J'ai d=E9j=E0 fait un appel =E0 ce su=
jet il y a pr=E8s=20
> d'une semaine.  I would be glad to read more about origami in frenc=
h.

Il y en a sur la liste qui parle francais.  Je vous recommande partic=
ulairement
la page origami de Vincent qui se trouve a l'adresse www :
          http://www.worldnet.fr/~osele/origami.htm#FRANCE .
Vous y trouverez des infos sur le mouvement francais des plieurs de p=
apier.
Malheureusement je ne connais pas d'equivalent au Quebec.
 =20
                                  ciao=20

--=20
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimcn.umontreal.ca           |





Return-path: <origami-l@nstn.ca>
Date: Sat, 26 Oct 1996 17:34:19 -0300 (ADT)
From: TrekDBob@aol.com
Subject: Re: LARGE Origami Cranes

In a message dated 96-10-26 11:36:45 EDT, you write:

>
>  My brother makes them from 36m gold leaf, they cost $87,500 each. Orders
>  to "YnotDIY?" Itcanbedun, Arfinch Int'toobad, GB.
>

HUH??? Nick - old chap - would you mind translating? I get the Itcanbedun,
and Ynot, but the rest of it.... is it real or is it Memorex?

Dee





Return-path: <origami-l@nstn.ca>
Date: Sat, 26 Oct 1996 20:28:29 -0300 (ADT)
From: Steven Casey <scasey@enternet.com.au>
Subject: Re: Shared and Artistic Origami

Jean Villemaire wrote:
>> I a not quite sure to understand what you mean by "shared origami". (snip)
>> Again, what is "artistic folding" ?

and Janet Hamilton replied:
>The distinction between shared and artistic folding, as I understand the
discussion, was that shared folding
>generally used exact landmarks and thus could be easily duplicated, whereas
artistic folding relied on more
>judgment folds and optional embellishments.  Of course, many people have
pointed out that even models with
>exact landmarks may become artistic due to choice of paper, folding method,
or the decision by the folder to
>ignore the landmarks or make other personal modifications.
>

I feel the expression "shared origami" is inaccurate even the "artistic"
experience can be shared with someone, particularly when demonstrating or
teaching.

Could we use something like "precise" origami instead? When something is
reproduced exactly it is known as a copy, facsimile ,replica or duplicate.
Not normally shared.

In origami it is the pleasure and process of folding that is shared and
ideas that are shared. Folders share their models with one another whether
precise or arbitrary methods are used.

Steven Casey,

scasey@enternet.com.au





Return-path: <origami-l@nstn.ca>
Date: Sat, 26 Oct 1996 23:15:49 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: NYC Source

I was in New York City today and came across a source for origami books and
     paper.  It is called "Crafts on
Broadway", and is located on 76th Street at Broadway on the second floor.  The
     craft store carries some Lang
and Montroll books, and some Usbourne books.  There was at least one paper
     airplane kit.  They also had precut
papers, including single color packages, foils, gradations, and some larger
     papers.

Janet Hamilton

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





Return-path: <origami-l@nstn.ca>
Date: Sat, 26 Oct 1996 23:45:03 -0300 (ADT)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Nov 3rd Folding Fun Fest

I'll be going back into NYC on November 3rd for one of the OUSA Fall Folding
     Fun Fest sessions.  I found out
today that November 3rd is also the date of the NYC Marathon.  I need some
     advice on how hard it will be to
move around the city or to park.  Can someone recommend whether it will be
     better to drive in, to take the
subway, or to take a cab?  What would be the best routes to the museum to avoid
     the marathon?

I'm looking forward to this session, so any help in making sure that I don't
     miss it stuck in traffic is
appreciated!
Janet Hamilton

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





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 01:49:32 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: NYC Source

At 11:15 PM 10/26/96 -0300, Michael & Janet Hamilton
<mikeinnj@concentric.net> wrote:

>I was in New York City today and came across a source for origami books and
paper.  It is called "Crafts on
>Broadway", and is located on 76th Street at Broadway on the second floor.
The craft store carries some Lang
>and Montroll books, and some Usbourne books.  There was at least one paper
airplane kit.  They also had precut
>papers, including single color packages, foils, gradations, and some larger
papers.

I just passed by there myself about a half-hour ago (it is after 12:00pm
over here on the east coast, so the store was closed). The most notable
thing about the place is how prominently the word *origami* is shown in
their store window; it is pretty hard to miss when passing by the street. I
stopped in a few months ago, and the selection was not extensive, but it is
nice to know it is there. The lady who was running the place said she was
considering starting an origami class (hosting crafts lessons seems to be
their mainstay. She was showwing me some of the books by Montroll. I casualy
told her I just finished having lunch with the author; I do not think she
beleived me.

Marc

P.S. John, you should have stopped in with me that day; you could have
really shocked her...





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 11:20:54 -0400 (AST)
From: Pat Slider <slider@ims.mariposa.ca.us>
Subject: New "Cerceda" book....

Just got this announcement from Amazon:

>------------------------------------------------------------------------
>"Fascinating Origami : 101 Models by Adolfo Cerceda"
>
>by
>
>Vicente Palacios
>
>List: $9.95 -- Amazon.com Price: $8.95 -- You Save: $1.00 (10%)
>
>Publisher: Dover Pubns
>Binding: Paperback
>Expected publication date: November 1, 1996
>ISBN: 0486293513
>URL: http://www.amazon.com/exec/obidos/ISBN=0486293513
>

Having just got the Spanish version of this title this year, I am wondering
if anyone knows if there are any significant changes to the original in the
Dover copy besides language? Of course, I am just assuming from the title
that it is the same book.

pat slider
slide4r





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 15:03:54 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: marbling

>Speaking of "marbling" :->....
>
>My children a week or so ago took some marbles, dipped them in tempura, and
>then rolled them around on a sheet of paper set in a box. This method
>produced a "Jackson Pollack" kind of design. The tempura is a little too
>crusty to fold, but I am thinking it might be fun to roll some marbles on
>some kami using some other kind of paint or ink.
>
>Couldn't resist posting this,
>

Thanks, Pat, I'm glad you did post it.  Sounds like a great new idea to try
at school!

                    Cathy

PS I did try once to marble paper as a classroom activity. Though we
followed directions carefully, the project failed.  The paint seemed to just
harden into glops and globs.  It made interesting designs, but the paper was
useless for folding.  Another project I tried involved slopping wet tissue
paper of different colours on white paper.  It worked beautifully when I was
a child, but it seems they have "improved" the quality of the tissue dyes so
that they no longer run or transfer.  Ahhh...progress.....

                            Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 15:04:23 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: plieur de papier

>Il y en a sur la liste qui parle francais.  Je vous recommande particulairement
>la page origami de Vincent qui se trouve a l'adresse www :
>          http://www.worldnet.fr/~osele/origami.htm#FRANCE .
>Vous y trouverez des infos sur le mouvement francais des plieurs de papier.
>Malheureusement je ne connais pas d'equivalent au Quebec.
>
>                                  ciao
>
>--
>*-------------------------------------------------------*
>|          Mark E. Casida                               |
>|          e-mail: casida@chimcn.umontreal.ca           |
>*-------------------------------------------------------*
>

Merci, je vais voir ce qu'il y a ce web site.  Il y a un club d'origami a
Quebec, mais c'est a Quebec.  (Now that should confuse the rest of the world!)

                                Quebec Origami
                                a/s de Paul Saint-Laurent
                                780 Calixa-Lavalle, suite #6
                                Quebec, Quebec

                                G1S 3G6

                                    Cathy

            Who is really glad to know there are other folders in Mtl.....





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 15:04:13 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Small Origami Cranes

>>=20
>>   /-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-///plieur de=
 papier\\\-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-=3D-\
>
>Now, this is the fist mention in french I've ever seen on this list since=
=20
>last week when I registered.  I am from Montreal, Quebec, and I sure=20
>appreciate it.  In fact, je me demandais si plusieurs francophones=20
>fr=E9quentaient cette liste.  J'ai d=E9j=E0 fait un appel =E0 ce sujet il y=
 a pr=E8s=20
>d'une semaine.  I would be glad to read more about origami in french.
>
>>  /=3D-=3D jack thomas weres                         jtweres@lucent.com=
 =3D-=3D\
>> /=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D\\\=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D///=3D=3D=3D=3D=3D=3D=3D=3D=
=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D=3D\
>> "Let Go and Let Fold"                             "One Crease At A Time"
>
>Jean Villemaire <boyer@videotron.ca>

BONJOUR!

        Le francais est ma langue seconde, mais je me debrouille.  Mon
system a eu un crash major il y a deux ou trois semains et je n'ai pas vu
ton appel. =20

        BTW, bonjour aussi a Gerard qui est un lurker sur la liste origami.
Je l' ai rencontre au Papier japonais sur la rue Fairmont.  Je crois que
Mark Cassida est aussi de Montreal.  Peut-etre on peut se reunir un jour?

                                                                           =
=20
                            Cathypl@generation.net

                                                                           =
=20
                            Ste. Julie de Vercheres, Quebec

Apologies to Anglophones who didn't understand a thing, and to Francophones
for having left out all the accents.  I have been told that accents do not
travel the net very well.

                                                                       =
 Cathy





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 15:16:38 -0400 (AST)
From: chall@scsn.net (Carol Hall)
Subject: another 1000 crane story

This may be old news to some, but my South Carolina (notorious for its
delayed reprints) newspaper just reprinted the story from the Washington Post:

(paraphrased)
Five-year-old Alex Van Cleave, son of U.S. Navy Commander, arrived in
Yokosuka, Japan in August.  Five weeks after his arrival, he fell at school,
suffered freak injury and died.  The family donated his kidneys for
transplant to two Japanese youths.  His case has advanced both the movement
for using American donor organs from U.S. military hospitals and the
pressure to change current laws which prevent heart, lung and liver
transplants in Japan.

"Alex's case has helped heal another wound, too.  The U.S. military's image
in Japan was seriously damaged last year when three servicemen on Okinawa
were convicted in the rape of a 12-year-old girl.  But following Alex's
death and organ donation, there has been an outpouring of affection and
gratitude from the Japanese public.  Japanese families have sent letters and
thousands of folded-paper cranes, a symbol of healing."

Carol Hall
chall@scsn.net





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 18:30:41 -0400 (AST)
From: Gavin Koh <gkwk2@cam.ac.uk>
Subject: Re: plieur de papier

At 03:04 PM 10/27/96 -0400, you wrote:
>Merci, je vais voir ce qu'il y a ce web site.  Il y a un club d'origami a
>Quebec, mais c'est a Quebec.  (Now that should confuse the rest of the world!)

Nah... Just Americans.

Gav.
________________________________________________
Gavin Koh
<gkwk2@cam.ac.uk>





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:40:30 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Searching for & in the Archive

Just a note on the search discussion:

The "model index" is an index of models in published books, not
of models in the origami-l archive site. The model index is still
"under construction", an on-going project gradually working its
way thru the literature. It is searchable by a number of criteria.
This model index is accessible in a number of ways; Alex Bateman's
is a handy one:

http://www.mrc-cpe.cam.ac.uk/jong/agb/origami.html

The "archive search" on Alex's site refers to the origami-l archive.
The origami-l "archive" contains the text of all the messages ever
sent to the origami-l mail list. They are grouped by date and
added in batches. You will see M. van Gelder's periodic messages
how to get off the list, access the archive, etc. Watch for these
about monthly. (Maarten van Gelder is the archivist.)

Besides the regular Internet ftp access, you can also access the archive's
friendly home page using a web browser, and/or start the URL on
your browser with "ftp://" instead of "http://", i.e.:

ftp://ftp.rug.nl/origami/welcome.html

Alex Bateman's "archive" search facility is not an index per se
of the origami-l archive. It is a text search program which finds
all the occurances of your search "keyword" in the message archive.
The full text of the messages will be displayed, so be as specific
as you can with your search keywords.

As to the rest of the archives (model diagrams, FAQ files, and
other forms of files): the top directory or home page of the
archive will enable you to find "index" files listing and describing
the nature of the files in each sub-directory. It can be a little
intimidating at first, but you can get the hang of it in a short time,
and you can't break anything.  :-)

The archive also has a "new uploads" directory. This is where you put
files you want to contribute to the archive. Be sure to email
Maarten van Gelder that you are uploading a file, so he knows it isn't
something some hacker dumped there. He will also check out the file
before placing it in the proper archive folder. (One of my postscript
files wouldn't print properly on some systems, and Maarten fixed it
for me before putting it in the archive.)

Most of the model diagrams in the archive were originally in Postscript
form, or GIF files. More recently the Postscript files have
also been converted to Adobe Acrobat PDF format. The diagrams in
PDF format can be accessed at another web site maintained by
Alex BARBER. (I get the two Alexes confused and had to make myself
a note...). The address for the PDF file web site is:

http://www.nol.net/~barber/origami/Otherdiag.html

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:41:28 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Origami Sighting/Frustrations

Hummm. Why would origami be tough to do with phone books?
Unless they meant using a whole one, like the old muscle-man
trick of tearing one up? :-)

Anyway, seems to me if you don't mine boring colors and
getting ink all over you, the thin paper used for phone books
(in the US anyway) would do as well or maybe better than any
other thin-ish wood pulp paper...

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:42:21 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: New cutting template and "fabric grips"

Except the sandpaper scars many papers and you have
to use it on the back and make sure no little grains
are loose, especially with foil.

I attach a piece of Post-It tape sticky side out
to the template with double stick tape.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:43:11 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: Paper companies

Kotobuki is located in South San Francisco, an industrial
and warehousing "suburb" of the Bay Area (California).
Kotobuki Trading Company is the principal supplier of
origami papers to the retail trade on the West Coast (maybe
the U.S.? OUSA gets their custom labelled kami packages, e.g.
those included in the Convention packs, from Kotobuki.)

My local sources, a paint/art supply store and stationer's,
both get origami paper thru the Kotobuki representative,
though fortunately, each carries a different selection.

It's my understanding from talking to the retailers that
Kotobuki only sells wholesale to the retail trade.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:44:02 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Ansill's Mythical Beings Book source

FYI:

>From time to time folks are looking for the out
of print book by Jay Ansill "Mythical Beings"

I noted in past posts that I'd seen copies at:

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

They sell used & remaindered books - mostly the
latter - and everything is either new or in excellent
condition. When I was last in a week or so ago the
owner told me they still had about half dozen copies at
least in back stock, after sending out a few (Australia
and New York were two destinations), and had been wondering
where such far-afield inquiries had come from. I told her
I'd "put her on the Internet" :-)

They're obviously willing to ship, so if you can't find
Ansill closer to home, give Sweet Briar a try.

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 19:44:53 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: A 2-D Pumpkin Face

Yes, please do upload a Postscript version if you
can; then some of us can make an Acrobat PDF file
of it too.

The pumpkin is a problem I've thought about every
Halloween, with little success, wonderful to see
someone has gotten results!

I keep thinking about a modular 3D version, but
so far nothing good has come of it. Maybe some year
we should have a pumpkin/Jack-O'Lantern design contest...

--valerie
Valerie Vann
75070.304@compuserve.com





Return-path: <origami-l@nstn.CA>
Date: Sun, 27 Oct 1996 19:54:25 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.COM>
Subject: Re: marbling

<< The tempura is a little too
>crusty to fold>>

Uh, isn't "tempura" a Japanese dish (deep fried
veggies and seafood)?

Are you sure you want to try that in school?

Not that it wouldn't be fun... to say nothing of
tastier than tempera, even if the latter - in its
classical form - does have egg in it. You could use
egg roll pastry instead of paper and have the
unsuccessful designs for lunch...

:-)

--valerie
