




Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 20:47:35 -0400 (AST)
From: Rjlang@aol.com
Subject: Re: New "Cerceda" book....

Pat Slider sez:

>"Fascinating Origami : 101 Models by Adolfo Cerceda"
>by
>Vicente Palacios
>
>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.

I haven't actually seen it, but my understanding is that it's the same with
the addition of a brief introduction/biography of Cerceda, written by Peter
Engel.

Robert J. Lang
rjlang@aol.com





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 21:13:12 -0400 (AST)
From: bc808@lafn.org (Karen Liebgott)
Subject: Re: marbling

><< The tempura is a little too
>>crusty to fold>>
>
>Uh, isn't "tempura" a Japanese dish (deep fried
>veggies and seafood)?
>

The paint type is actually spelled *tempera*. ;-)

--
~Karen~
[bc808@lafn.org]





Return-path: <origami-l@nstn.ca>
Date: Sun, 27 Oct 1996 22:26:23 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: plieur de papier

Gavin Koh wrote:

> >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>

Well said, Gavin.  BTW, does the "uk" at the end of your address mean you
live in the U.K.?  If so, would you be kind enough to tell me if Robert
Harbin is still alive?  I owe him a lot for making me an accomplished
paper-folder...  Thank you,

Jean Villemaire, Montreal, Quebec
boyer@videotron.ca





Return-path: <origami-l@nstn.CA>
Date: Sun, 27 Oct 1996 23:41:26 -0400 (AST)
From: Jean Villemaire <boyer@videotron.CA>
Subject: Re: Small Origami Cranes

Cathy Palmer-Lister wrote:

> Il y a un club d'origami a Quebec, mais c'est a Quebec.  (Now that=
=20
> should confuse the rest of the world!)
>
>                                Quebec Origami
>                                a/s de Paul Saint-Laurent
>                                780 Calixa-Lavalle, suite #6
>                                Quebec, Quebec
>
>                                G1S 3G6

Merci pour l'information !  BTW, the ones that are really confused ar=
e=20
Quebec City's residents...                                           =
   =20
                                                                     =
   =20
> Who is really glad to know there are other folders in Mtl.....

Come on, did you ever doubt there were any?

And then, she wrote:
=20
> BONJOUR!
>=20
> 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=20
> vu ton appel. =3D20

Le "major crash" n'est pas survenu =E0 cause de l'usage de la langue=
=20
fran=E7aise, toujours... ;-)

> BTW, bonjour aussi a Gerard qui est un lurker sur la liste origami.
> Je l' ai rencontre au Papier japonais sur la rue Fairmont.

Allo, Gerard ?  Es-tu la ?

> Je crois que Mark Cassida est aussi de Montreal.  Peut-etre on peut=
 se=20
> reunir un jour?

Bien s=FBr !  Je tente actuellement de mettre sur pied un clud d'orig=
ami=20
ici-m=EAme, =E0 Montr=E9al.  Si toi ou d'autres =EAtes int=E9ress=
=E9es =E0 m'aider =E0 le=20
faire, bienvenue.  Si vos disponibilit=E9s ne le permettent pas, je=
=20
vous attends quand le club sera en activit=E9.

> Ste. Julie de Vercheres, Quebec

Mais c'est tout =E0 c=F4t=E9...
=20
> Apologies to Anglophones who didn't understand a thing,

Why apologize?  If we need to meet in french on this line for develop=
ping=20
interest in origami around us, I'm sure they will understand.  If I=
=20
hadn't started this circus, I had never known you were so close...
=20
> and to Francophones for having left out all the accents.  I have be=
en=20
> told that accents do not travel the net very well.

Woops!  So that's the reason for all those numbers...

A bientot, je l'espere.

Jean Villemaire, Montreal
tel.: 272-7749
e-mail: boyer@videotron.ca





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 00:04:13 -0400 (AST)
From: Sy Chen <sychen@leatherback.nist.gov>
Subject: Re: A 2-D Pumpkin Face

At 07:45 PM 10/27/96 -0400, valerie wrote:
>Yes, please do upload a Postscript version if you
>can; then some of us can make an Acrobat PDF file
>of it too.
>

I just uploaded an EPS version to the same /origami/.incoming directory. I
did test it on my GhostScript+GSView for Win95 and HP DeskJet 600C w/o
problems. But GhostScript PDF writer failed to do the converting job for me.
I might as well upload only EPS version this time.

>
>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...
>

I did think about 3D version first but well... 2D is much easier for me to
come up with in a short time.

Sy Chen





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 01:24:09 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Make-A-Wish Foundation Taipei, Taiwan

ReSent-Date: Mon, 28 Oct 1996 14:21:27 -0600 (cst)
ReSent-From: Joseph Wu <origami@planet.datt.co.jp>
ReSent-To: Origami Mailing List <origami-l@nstn.ca>
ReSent-Message-ID: <Pine.WNT.3.95.961028142127.-65717H@origami.datt.co.jp>
ReSent-X-X-Sender: origami@planet.datt.co.jp

I received this today and am passing this on to all of you. More
information (such as an address!) will hopefully follow.

          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

---------- Forwarded message ----------
Joseph Wu: I have browsed through the info you compiled on the paper
crane and origami organizations.  Our organization, the Make-A-Wish
Taipei, Taiwan, the official affiliate of Make-A-Wish Foundation
International of Phoenix, Arizona, USA, is plannning a major
fund-raising campaign with Seven-Eleven stores of Taiwan.  This year's
theme is the Paper Cranes.  The Seven-Eleven management hope to raise
funds for Make-A-Wish but also to raise awareness on those children who
are facing life-threatening diseases.  They hope to collect at least
100000 paper cranes from the schools by Dec. 21st when a major carnival
event will be hosted by 7-11 and a group of kindergarten schools in
Taipei. You are welcome to pass on this message to your origami
paper cranes to Taipei.  I shall be happy to email you more info when it
is available.  my email:  wishtpe@asiaonline.net.tw
thank you and look forward to hear from you.  Kennie Chen, Taipei





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 07:32:25 -0400 (AST)
From: DLister891@aol.com
Subject: Re:Robert Harbin (formerly " plieur de papier")

Jean Villemaire asks Gavin Koh whether Robert Harbin is still alive.

It so happens that I have, during the past few days, been researching Robert
Harbin, in connection with the proposed republication of his "Secrets of
Origami" so perhaps I can reply for Gavin.

Sadly, Robert Harbin died on 12thJanuary,1978, at St. Mary's Hospital, London
at the comparatively early age of sixty-Eight. Some months previously he had
undergone an operation for cancer and as part of his convalescence, he had
embarked on a working cruise round the world in the P and O liner Oriana,
something which he had regularly done before. His job was to entertain the
passengers with magic, not a particularly strenuous job, and leaving plenty
of time for resting. Unfortunately he became ill again and when the ship
docked at Hong Kong, he saw doctors there. They sent him straight back to
England by air. He had not long to live and spent his time putting his
affairs in order and ensuring that his magical and paperfolding collections
were entrusted safely to people who would look after them for posterity. He
bequeathed his paperfolding books and the copyrights in all his own books to
the British Origami Society. Hence, the Society is at present trying to get
some of them republished. But it is not easy.

Robert Harbin was, of course devoted to paperfolding, but his profession was
stage magic. He was one of the greatest innovative magicians ever to have
lived, constructing his new illusions himself in a secret garage somewhere in
London, and working on them until he considered them perfect. Perhaps the
best-known of his illusions was "The Zigzag Girl", a development of "Sawing a
Wpman in Half", where he actually removed the centre section of the box into
which the woman had been put. Robert Harbin was greatly honoured on both
sides of the Atlanic, not only be popular audiences, but also by his fellow
professional magicians, who bestowed many honours on him.

Rober Harbin was, of course, the first President of the British Origami
Society and although it was an honorary office he always tried to come to our
conventions, whenever his frequent cabaret engagements permited him to do so.
He gave the Society enormous help, the real extent of which has never been
disclosed in public

I remember him as a very friendly man, very accessible and always anxious to
help expert and beginner alike. I suppose that without him there would still
have been a modern Origami movement, but if he had not written "Paper Magic",
it would have taken much longer. Modern Origami in the West  owes everything
to Gershon Legman, Lillian Oppenheimer and Robert Harbin, and Robert Harbin
was at the centre of the trio. Strangely, not one of the three was a great
creative folder. But they were all three great ceative facilitators.

If Robert Harbin is no longer with us, his many Origami books survive, for
all to enjoy. I hope that succeeding generations of paperfolders will contine
to learn from them and to come as close as possible to a great folder and a
great man.

David Lister
Grimsby, England.
D.Lister891@AOL.com

DLister891.AOL.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 09:47:00 -0400 (AST)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: J.C. Nolan's "Braided Paper"

Hi all,

I finally decided to have a go at this model at the weekend, and I
actually managed it first time!  OK, so the final few points were
a bit squished but it looked about right. 8)

I wasn't sure about the pleat-sinks either, so I practised with a
simple waterbomb base first to see how the creases should look.

But, at least I've managed a high-intermediate model, and that I know
my folding skills are progressing.

Can anyone recommend other models in the archives that are at about
this level?

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: Mon, 28 Oct 1996 09:57:14 -0400 (AST)
From: Holmes David EXC IS CH <holmes@chbs.ciba.COM>
Subject: Dog base, etc

Hi all,

Is the Dog Base or some other base for getting four legs available on
the Internet anywhere?  I think it's in a Montroll (?) book, but at the
moment I'm not in a position to buy any books (I don't have a credit
card and all the origami books over here are in German).

I've begun creating some animal-like models but so far all my quadrapeds
are really tripeds, and they don't stand up very well. 8)

Thanks,

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: Mon, 28 Oct 1996 10:15:39 -0400 (AST)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: Doodle folding

Hi,

A question for all those people who "doodle fold", i.e. begin folding
without a preconceived idea of where they want to get to.

(Thinking about it, this is a good question itself - how many people do
actually "doodle-fold" ?)

Back to the main question 8)

When you are folding and you get to a point which you think looks
promising, do you, like me, put that piece of paper to one side and
take another, folding it to the same place.  Then you explore that
'base' seeing what you can make out of it.

I'd like to know just how much you explore each 'base' you develop.

In my case, because I have little experience of high-intermediate or
complex models, there may be directions in which I could take a model,
but don't know how, due to my lack of knowledge of *harder* fold
sequences.

Comments, anyone?

Thanks,

Dave

PS. Please see my next message as well.

----
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: Mon, 28 Oct 1996 10:25:01 -0400 (AST)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: *Harder* fold sequences

Hi,

Could someone recommend a book (or web page) that describes some of the
harder folds such as a closed sink, an unsink, etc.

Just what *is* the difference between an open sink and a closed sink? 8)

Thanks,

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: Mon, 28 Oct 1996 10:25:21 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Shared and Artistic Origami

Steven Casey wrote:

> 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

I'm glad you remember that origami is first and foremost an act of
folding.  And that, unlike other art forms, the sharing takes place
within this act wether it's been guided by traditional landmarks or not.
After all, aren't we paper-folders rather origami admirers?  We all know
how cute a model may be, the real pleasure we find in it comes when we
can fold it ourselves.  And, further on, a great pleasure in origami is
to come at the point of creating original models and, by doing so,
becoming part of the "origamian" tradition.  So, I will agree that terms
like "shared and artistic origami" can be inappropriate if focused only
on the origami object wether than on the origami act of folding.  How
about strictly guided origami, loosely guided origami and free-folding?

Jean Villemaire, Montreal, Quebec
boyer@videotron.ca





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 10:52:56 -0400 (AST)
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: Robert Harbin (formerly " plieur de papier")

I would like to thank David Lister for his wonderful account of the many
contributions of Robert Harbin.  However I am left with one question.
After reading,

> Modern Origami in the West  owes everything
> to Gershon Legman, Lillian Oppenheimer and Robert Harbin, and Robert Harbin
> was at the centre of the trio. Strangely, not one of the three was a great
> creative folder. But they were all three great ceative facilitators.

I must confess that I have no idea who Gershon Legman is/was.  Can you help
me out?

                              ciao

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





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 12:55:44 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: *Harder* fold sequences

At 10:25 AM 10/28/96 -0400, you wrote:
>Hi,
>
>Could someone recommend a book (or web page) that describes some of the
>harder folds such as a closed sink, an unsink, etc.
>
>Just what *is* the difference between an open sink and a closed sink? 8)

Date: Thu, 25 Apr 1996 01:35:27 -0300 (ADT)
From: marckrsh@pipeline.com (marc Kirschenbaum)
Subject: Re: Sink folds

On Apr 24, 1996 19:04:55, 'Patrick Antouly <100332.1710@compuserve.com>'
wrote:

>Could someone explain me what is the difference between a "open" sink and
a
>"closed" sink.

A sink is the term used when describing a procedure used to invert a point
that is comming from the middle portion of a paper. An example of such a
point would be the tip of a waterbomb base (the other points do not com e
from the middle; rather they come from the corners). The procedure for
sinking usually begins with precreasing along the amount of the point that
you wish to sink. In the case of our waterbomb base, we would form a
horizontal valley fold (where this fold lies will affect the depth of the
sink), and unfold. You would then unfold your point, and reinforce the
sqare ring created at the center with mountain folds. If you reform your
waterbomb base while keeping the mountain folds in place, and pushing in at
the center, you will be performing a sink.

Actually, to be more specific, you would be performing an open sink, but
since the term close sink only first appeared (to my knowledge) only about
ten years ago, it is assumed that a sink is of the open variety. With an
open sink, the number of mountain folds needed to define the area to be
sunk is equal to the number of panels the point consists of. In the case of
the waterbomb, the top point has four panels, and the area to be sunk looks
like a square (four sides), when opened up. If we were to sink the tip of a
frog base (whose point consists of eight panels),  the sunken region would
be an octagon.

With a closed sink, we do not open the point entirely when inverting the
point. In the case of the waterbomb, it is possible to open only one side
to form what would look like a pyramid. If we were to push in the point in
this formation, and then close the model back up, this could be called
sinking triangularly (since you would be pushing in a triangularly shaped
region). Another way of looking at this would be to call this a hybrid
sink. The half that was opened prior to sinking would resemble an open
sink, while the other side would resemble a closed sink. From the outside,
the two sides would look the same, but on the closed side, the flaps would
be locked at the top.  A true closed sink (in the case of the waterbomb),
would be where the point is inverted without openingthe model's sides (yes
I know; easier said than done). You would essentially be sinking thoug a
two sided shape.

marc

Return-path:
***********************************************************************
Date: Wed, 1 May 1996 01:33:58 -0300 (ADT)
From: marckrsh@pipeline.com (marc Kirschenbaum)
Subject: Re: Copie de : Re: Sink folds

On Apr 30, 1996 21:51:54, 'Patrick Antouly <100332.1710@compuserve.com>'
wrote:

>>>would be where the point is inverted without openingthe model's sides
(yes
>>>I know; easier said than done).
>
>That is also what I think :-) Usually, when I do a sink I open up the
model as
>much
>as I can. I have never made a _real_ closed sink. That is why I didn't see
the
>difference
>between open and closed sink, I always open a closed sink... Is there any

>people
>that can make completly closed sinks ?

Those closed-sink capable people do seem like a rare breed, but I have seen
people do it before. Nonetheless, after performing a closed sink, the end
result is difficult to distinguish from the open sink counterpart. In fact,
the outside of the model would be the same; only the internal layes would
seem to be in a different order. Also, for many models, it is possible to
substitute an open sink for a closed one. This is because closed sinks are
often used for aesthetic purposes only; since the sides of a closed sink
are generally locked together, the end result is often neater and tighter.
There are some cases where you have to use a closed sink when it is called
for, as the structure of the model is dependant upon how those middle
layers are arranged The good news is that closed sinks get easier after
doing them for a while, and there are some cases where the seem to be
easier than their open counterparts. Look for me at the upcomming Origami
USA convention, and I would be happy to show how it is done.

marc





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 13:02:33 -0400 (AST)
From: g_r@mda.ca (Garry Robertson, Fenco MacLaren, MCDV Project)
Subject: L.A. Store Request

Hi,

I'm going to L.A. on Tuesday for a brief business trip.

Does anyone know of any book or paper stores in the Van Nuys and Sylmar
area?

Thanks

Garry Robertson (G_R@MDA.CA)





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 13:27:26 -0400 (AST)
From: jtweres@lucent.com
Subject: Re: plieur de papier

jean, marc, cathy & other francophones,,,

OH MY!!!
        what have i started!!!

UH!!!
     i don't understand a thing you're saying
     beyond "bonjour", "ciao" and "plieur de papier"

the "plieur de papier"
comes out of one of the other lives i lead
which is a word-artist

the french term for paper folder
struct me in a humourous tone
in the case where you really don't translate the term into french

in other words
"plieur de papier"
brings an image of someone trying to fold paper with pliers

GET IT!!!
         pliers (plieur)!!!

i may be too creative for my own good

it would now be interesting to see other languages' term for paper folder
and see if anything else of interest comes up

  /-=-=-=-=-=-=-=-=-=-=-///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: Mon, 28 Oct 1996 13:46:39 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: *Harder* fold sequences

At 10:25 AM 10/28/96 -0400, you wrote:
(snip snip)
>Just what *is* the difference between an open sink and a closed sink? 8)
>
There are a lot of technical explanations that will probably be given in
answer to this but I'd like to add my $ .02 just because this was a huge
point of confusion for me when I first encountered these terms.

You are probably already working on a model which diagrams how to do the
closed and open sinks (Montroll's diagrams worked best for me...) so I am
foregoing the specific inversion / extrusion descriptions you will probably
get from everyone.

If you look at the diagrams for an open sink, the paper has been made to
'sink' down below the edge of the model, down into the interior of the
piece.  In doing so, it will follow the contours of the inside of your
model, creating a sort of pocket with multiple compartments.

If you look at the diagrams for a *closed* sink, the resulting pocket will
be much less contoured; an extremely simple pocket with only one
compartment.  This single compartment results from all of the interior flaps
tucking in behind the sink / pocket.

Hope this helps - I had a lot of trouble with this at first but now I *love*
sinks!

"Origami: Welcome to the Fold!"

Steve Woodmansee,
stevew@empnet.com





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 14:02:08 -0400 (AST)
From: Oded Streigold <benjic@netvision.net.il>
Subject: RE: Doodle folding

 I like doodle folding, more about it in the second paragraph.

 My designing ( I'm a beginner designer ) goes like this:
 First I carefully plan the base of the model (like number of appendages,
 proportion etc ) by drawing some crease patterns, then I work my way with the
     paper, fold it this way and that, so it will look like the subject.
 Then I put the result aside, and do another one based on the same base,
 using the good ideas (if any ) that have emerged in the previous version,
 and try to improve it. This I do until I reach a good result. As yet I
     cannot preconceive all the model from the start, or even most of it.

 As for complete doodling, without planning, is something that I like a lot,
 I can fold for hours, until I reach a 'dead end' and I leave the model
 as it is. Usually I get no model in the end, but it is still among the
 most enjoyable things I do in origami.

 For designing, except for a good knowledge of folding, I would recommend
 for novice designers, to open up models, and learn from the crease patterns,
     because doodling can be successful if it starts from a good base.

 Oded.
 benjic@netvision.net.il





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 14:36:17 -0400 (AST)
From: slider@ims.mariposa.ca.us (Pat Slider)
Subject: Re: *Harder* fold sequences

>>Could someone recommend a book (or web page) that describes some of the
>>harder folds such as a closed sink, an unsink, etc.

"Origami Zoo" by Robert Lang and Stephen Weiss has a great section in the
beginning "describing the more complex folds including double rabbit-ears
(my personal bugbear), and open and closed sinks. It has some nice tips on
how to achieve the fold, plus each section even states the general purpose
of the folding method, i.e. open and closed sinks are methods "of blunting
a point". Besides this book has lots of models to try these methods on :->.

J.C. Nolan's "Creating Origami" also has a good section defining all the
folding methods, but I think I like the tone and simplicity of the "Zoo"
instructions better.

pat slider
slider@yosemite.net





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 14:45:50 -0400 (AST)
From: Sy Chen <sychen@leatherback.nist.gov>
Subject: Re: *Harder* fold sequences

At 10:25 AM 10/28/96 -0400, David M Holmes <holmes@chbs.ciba.com> wrote:
>Hi,
>
>Could someone recommend a book (or web page) that describes some of the
>harder folds such as a closed sink, an unsink, etc.
>

Robert Lang is one of the experts in open/closed (un)sink. You may try his
latest published works - "Origami Insects and Their Kin" for finger
numbing/tender popping fun. Nolan's "Creating Origami" and Lang and Weiss'
Origami Zoo do have some detailed description as well (Out of Print?).

Sy Chen
-------
 Why did the almost deranged folder drown
himself?  Because the diagram said, "Sink." -- Jeremy Shafer





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 14:46:00 -0400 (AST)
From: Sy Chen <sychen@leatherback.nist.gov>
Subject: Re: Doodle folding

At 10:15 AM 10/28/96 -0400, David M Holmes wrote:

>(Thinking about it, this is a good question itself - how many people do
>actually "doodle-fold" ?)
>

I do. (Killing time! or Folding under Pressure?)

>Back to the main question 8)
>
>When you are folding and you get to a point which you think looks
>promising, do you, like me, put that piece of paper to one side and
>take another, folding it to the same place.  Then you explore that
>'base' seeing what you can make out of it.
>
>I'd like to know just how much you explore each 'base' you develop.
>

If you are talking about Base design. My suggestion would be either
talking/showing to some experienced folders or read some publications to
find it out. Even you do find out you have developed an identical base. You
may still discover a better/optimized folding sequences for some existed bases.

For a specific model design you may need to either take notes/sketches (or
whatever is convinient for you) to help you to memorize the procedures of
the main model structure. I find duplicate folding can only help me
temporarily. I do forget my own model if I don't fold it for a while. Even
some great designers such as Herman Van Goubergen can not fold all his
models by heart. (He told me about this!)

Enjoy your doodling!

Sy Chen





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 19:16:53 -0400 (AST)
From: Peter Ansoff <72460.1665@compuserve.com>
Subject: Re: plieur de papier

Comme dit Asterix le Gaulois, "Ils sont fous, ces Americains!"
Justment, il y a, entre nous, quelques gens qui comprend en peu.

Peter Ansoff
(Alexandria, Virginia, USA)
72460.1665@compuserve.com

---------- Forwarded Message ----------

From:   Gavin Koh, INTERNET:gkwk2@cam.ac.uk
DATE:   10/27/96 5:54 PM

RE:     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: Mon, 28 Oct 1996 19:59:52 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Make-A-Wish Foundation Taipei, Taiwan

Hi, Joseph!

..........  The Seven-Eleven management hope to raise
>funds for Make-A-Wish but also to raise awareness on those children who
>are facing life-threatening diseases.  They hope to collect at least
>100000 paper cranes from the schools by Dec. 21st when a major carnival
>event will be hosted by 7-11 and a group of kindergarten schools in
>Taipei. .................................

This might be an interesting project for my scholl kids.  Do let me know if
you get more info, such as a snail mail address.

    Cathy





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 20:09:39 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: plieur de papier

Dear Jack, you wrote:
>
> jean, marc, cathy & other francophones,,,
>
> OH MY!!!
>         what have i started!!!

Sorry, I was there first... in french.

> UH!!!
> i don't understand a thing you're saying beyond "bonjour", "ciao" and
> "plieur de papier"

Well, that's a good beginning.  BTW, "ciao" is italian.

> the "plieur de papier" comes out of one of the other lives i lead
> which is a word-artist the french term for paper folder
> struct me in a humourous tone in the case where you really don't
> translate the term into french
>
> in other words "plieur de papier" brings an image of someone trying to
> fold paper with pliers
>
> GET IT!!!
>          pliers (plieur)!!!
>
> i may be too creative for my own good

Is that what iis called first "layer" humor (origami joke)? :-)

> it would now be interesting to see other languages' term for paper
> folder and see if anything else of interest comes up

If you don't mind, we will have to continue sometimes in french, at least
to get sure more people around here in Quebec catch up with origami.  And
don't ever forget that, if you can't understand us, we can understand
you. :-)

Jean Villemaire, Montreal
boyer@videotron.ca





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 20:22:03 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: plieur de papier

On Mon, 28 Oct 1996, Jean Villemaire wrote:

>Dear Jack, you wrote:
>> jean, marc, cathy & other francophones,,,
>> OH MY!!!
>>         what have i started!!!
>Sorry, I was there first... in french.

Sorry, Jean, but there has been French on this listserver long before you
ever came along. Check the archives! I've even participated (with my very
bad French)!

          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: Mon, 28 Oct 1996 20:25:54 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Make-A-Wish Foundation Taipei, Taiwan

Joseph Wu wrote:
>
> I received this today and am passing this on to all of you. More
> information (such as an address!) will hopefully follow.
>
> ---------- Forwarded message ----------
> Joseph Wu: I have browsed through the info you compiled on the paper
> crane and origami organizations.  Our organization, the Make-A-Wish
> Taipei, Taiwan, the official affiliate of Make-A-Wish Foundation
> International of Phoenix, Arizona, USA, is plannning a major
> fund-raising campaign with Seven-Eleven stores of Taiwan.  This year's
> theme is the Paper Cranes.  The Seven-Eleven management hope to raise
> funds for Make-A-Wish but also to raise awareness on those children who
> are facing life-threatening diseases.  They hope to collect at least
> 100000 paper cranes from the schools by Dec. 21st when a major carnival
> event will be hosted by 7-11 and a group of kindergarten schools in
> Taipei. You are welcome to pass on this message to your origami
> organizations and maybe they would like to get involved by sending the
> paper cranes to Taipei.  I shall be happy to email you more info when
> it is available.  my email:  wishtpe@asiaonline.net.tw
> thank you and look forward to hear from you.  Kennie Chen, Taipei

I started a Club of Thousand Cranes at school where I work.  Hope many
will sit in with us and fold cranes for healing.  Maybe even teachers
will join (I'm not a teacher, I'm an educator for the daycare
department).

Jean Villemaire, Montreal
boyer@videotron.ca





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 20:36:17 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: plieur de papier

Joseph Wu wrote:

> Sorry, Jean, but there has been French on this listserver long before
> you ever came along. Check the archives! I've even participated (with
> my very bad French)!

Well, that's good news.  Of course, I don't want to start a fight in this
issue.  Who ever thought of fighting over french language! ;->  Anyways,
you're the second one to talk about checking the archives. I'll do that.

Jean





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 20:54:46 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Shared and Artistic Origami (LONG!)

On Mon, 28 Oct 1996, Jean Villemaire wrote:

>Steven Casey wrote:
>> >>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.
>I'm glad you remember that origami is first and foremost an act of
>folding.  And that, unlike other art forms, the sharing takes place
>within this act wether it's been guided by traditional landmarks or not.
>After all, aren't we paper-folders rather origami admirers?  We all know
>how cute a model may be, the real pleasure we find in it comes when we
>can fold it ourselves.  And, further on, a great pleasure in origami is
>to come at the point of creating original models and, by doing so,
>becoming part of the "origamian" tradition.  So, I will agree that terms
>like "shared and artistic origami" can be inappropriate if focused only
>on the origami object wether than on the origami act of folding.  How
>about strictly guided origami, loosely guided origami and free-folding?

No, no, no, no, no, and no! While the point about landmarks and no
landmarks is a part of the distinction between "shared folding" and
"artistic folding", it is not the main distinction. It is much more subtle
than that, and, I will probably get in trouble with a lot of people as I
try to explain.

Artistic folding was pioneered by Yoshizawa, and is continued by people
like Yamaguchi (and Oru Magazine), Michael LaFosse, Paul Jackson, and Eric
Joisel. (I'm working towards it, but am not "there" yet.) It is an
attitude towards paper folding that transcends the mechanical
problem-solving and the handicraft mindset. It is having a knowledge of
the paper, an understanding of it, that can only come with years of
experimentation and experience. That is why Yoshizawa has his moods
sometimes when teaching, insisting that people do things exactly his way.
He has spent years perfecting the model that he is teaching, and that's
the way that it is supposed to be folded. If you had his experience, I
would doubt that he would correct you if you tried to personalize his
work.. However, if you had his experience, you wouldn't be trying to
duplicate his work anyway!

Michael LaFosse describes what he does as "origamido", the way of origami.
It is not the simple folding of the paper, but a philosophy, a way of
approaching the art form. That is part of the reason why he prefers to use
videos to disseminate his models as opposed to diagrams. He wants you to
understand exactly how the folding takes place, and the details as to
paper choice, etc. He remarked to me that one of his greatest fears is
that someone will use kami to fold one of his models that was never
designed to be folded with kami!

Paul Jackson also refuses to use the word "origami" for what he does,
preferring the term, "paper folding". He describes himself as a sculptor
who works in folded paper. The sorts of things that he experiments with
and teaches are techniques, not models. "What can you do with one crease?"
"What is a system of pleating and how can it be applied?" To Paul,
"origami" connotes the handicraft approach of "you show me yours, and I'll
show you mine". There is a place for that, to be sure, but that is not
what he does for his art (although he does it--writing books--to make a
living!).

So what it all boils down to is attitude. Are you an artist or are you
not? What is your motivation? Are you trying to created the next technical
wonder, the next most complex model? Are you happy folding other people's
designs, and always in search of the next harder challenge to tackle? Do
you want to trade ideas and models with each other? Fine and good. But
that is not artistic folding. An artistic folder must fold. The paper
speaks to him, urging him to explore its potential. And yet, that is only
because it is his chosen medium. There is something more, something
deeper, inside that compells him to create, to express the unexpressible.
First and foremost, he is an artist, and he has something to say.

Note that there is much overlap between shared and artistic folding. The
models can be complex or simple, can have precise landmarks or not
(although artistic folding is more likely to not have landmarks), can be
technically challenging or not. In fact, the same model can be both a
shared model and an artistic one. Creativity is also not an issue, at
least not creativity in the sense of designing new models. Aldo Putagiano
(sp?) has shown pieces at the OrigamiUSA Conventions that use the familiar
tulip model to good effect, creating artistic, thought-provoking pieces.
At the other end of the spectrum, Robert Lang has folded superb examples
of his work, giving them a vivacity that would be difficult (if not
impossible) to duplicate. Both are shining examples of artistic folding.

This attitude can be seen in the finished work. Anyone who sees, really
sees, Yoshizawa's works, and then compares them to the diagrams in his
books, will realize the depths of emotion and life captured in the actual
folded pieces (which is why he includes so many colour photographs). To
say that you cannot see the difference is like going to see a Jackson
Pollack painting and saying that a monkey throwing paint could do better.
You have missed the point if you do so.

Origami, if I may use the word, is reaching a new phase, where it is
beginning to become accepted as fine art. Let us respect those who are
striving to make this so. There will always be a place for shared folding.
But let's not hold back those who are headed in a different direction,
calling them conceited and greedy for not sharing their designs. After
all, would you ask Leonardo da Vinci to create a paint-by-numbers set for
the "Mona Lisa"?

          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: Mon, 28 Oct 1996 20:57:58 -0400 (AST)
From: "Ole A. Nielsen" <nielseno@knot.queensu.ca>
Subject: francais

>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\
>>=20

Salut,

Bien sur qu'il y a des gens qui parlent francais sur la liste! Moi aussi,
j'aimerais voir plus de postes en francais, meme si moi je ne suis pas
francophone-Canadien, je parle en francais tous les jours et ca serait une
plaisir de pouvoir communique en francais ici a ORIGAMI-L.

Janet Nielsen    nielseno@post.queensu.ca





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 21:17:15 -0400 (AST)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Doodle folding

At 10:15 AM 10/28/96 -0400, Holmes David EXC IS CH <holmes@chbs.ciba.com> wrote:

>A question for all those people who "doodle fold", i.e. begin folding
>without a preconceived idea of where they want to get to.
>
>(Thinking about it, this is a good question itself - how many people do
>actually "doodle-fold" ?)
>

I have *doodle-folded* from time to time, solely for the purpose of
doodling. An interesting thing I have done before is to begin doodling, and
then pass the form to another folder, so as to keep the folding sequence
interesting. Nothing fruitfull ever came from this, but we did manage to get
some bizzare folding sequences.

>Back to the main question 8)
>
>When you are folding and you get to a point which you think looks
>promising, do you, like me, put that piece of paper to one side and
>take another, folding it to the same place.  Then you explore that
>'base' seeing what you can make out of it.
>
>I'd like to know just how much you explore each 'base' you develop.
>

To me, an interesting base is (relitivly speaking) a dime a dozen, but a
good model is of much greater value. I have no qualms discarding a
non-fruitful staring point. Generally speaking, my starting points are fine,
but the ratios are off. I do not find folding a form to the bitter end, just
to see what exactly needs adjusting. In many cases, a vertex of the base
just needs to be relocated. I should define my terminology; a *vertex* is
the point at which a cluster of appendages converge. For instance, fot the
waterbomb base, the vertex would be at the center of the square. If I wanted
to change the size ratio of the appendages, I would shift the vertex (a
litle shift often has dramatic results).

>In my case, because I have little experience of high-intermediate or
>complex models, there may be directions in which I could take a model,
>but don't know how, due to my lack of knowledge of *harder* fold
>sequences.

Very few sequences are actually hard, although some sequences are difficult
to convey through teaching or written instructions. Only a small percentage
of folds in a complex model are acctually physicaly difficult to perform;
the remainer of the folds might be just hard to comprehend (initially at
least, if you are new to this). I have found most of the intermediate level
procedures to be quite versitile.

Marc





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 22:45:33 -0400 (AST)
From: Steven Casey <scasey@enternet.com.au>
Subject: Re: Shared and Artistic Origami (LONG!)

What Steven Wrote:
<snip>
>>> 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.
<snip>

This was in reference to a previous posting where there was some confusion
about the meaning between shared and artistic folding. I just felt the term
shared was inappropriate. I was thinking about semantics.

Joseph Wu wrote:

>No, no, no, no, no, and no! While the point about landmarks and no
>landmarks is a part of the distinction between "shared folding" and
>"artistic folding", it is not the main distinction. It is much more subtle
>than that, and, I will probably get in trouble with a lot of people as I
>try to explain.
>
>Artistic folding was pioneered by Yoshizawa, and is continued by people
>like Yamaguchi (and Oru Magazine), Michael LaFosse, Paul Jackson, and Eric
>Joisel. (I'm working towards it, but am not "there" yet.) It is an
>attitude towards paper folding that transcends the mechanical
>problem-solving and the handicraft mindset. It is having a knowledge of
>the paper, an understanding of it, that can only come with years of
>experimentation and experience. That is why Yoshizawa has his moods
>sometimes when teaching, insisting that people do things exactly his way.
>He has spent years perfecting the model that he is teaching, and that's
>the way that it is supposed to be folded. If you had his experience, I
>would doubt that he would correct you if you tried to personalize his
>work.. However, if you had his experience, you wouldn't be trying to
>duplicate his work anyway!
<snip>

I remember showing a model of a tricycle to Bruce Doyle . He handed me an
old bit of poster paper and asked me to fold him one. My original required
very thin paper or foil and I felt quite offended  at Bruce's choice of
paper. He was operating on the level of reproduction, but not on all the
other levels. Which meant choice of colour, weight and type of paper and
desire. And there are some models you just develop a feel for and nobody
else can duplicate what you do. And as in drawing and painting you learn to
see differently. You learn to pose  models a certain way and to "judge"
proportions. Your paper becomes a means of expression. There is a pride in
what Yoshizawa does and to fold his models any other way would be to devalue
his total creative effort. I feel that when Yoshizawa folds one of his
models, his diagrams are only a guide, that is , he breaths life into each
individual piece he folds, making it unique and a work of art. It is
something I aspire to. As you say it's all about attitude.

<Snip>
>Michael LaFosse describes what he does as "origamido", the way of origami.
>It is not the simple folding of the paper, but a philosophy, a way of
>approaching the art form. That is part of the reason why he prefers to use
>videos to disseminate his models as opposed to diagrams. He wants you to
>understand exactly how the folding takes place, and the details as to
>paper choice, etc. He remarked to me that one of his greatest fears is
>that someone will use kami to fold one of his models that was never
>designed to be folded with kami!

<Snip>

This is what I meant by sharing through  teaching or demonstration. Its a
process you can view or experience but not necessarily duplicate.

Regards,

Steve Casey

                            \\ \\\\\
                          \\\\\\\\\\\\
                        \\\\\\\\\\\\\\\>>>>>
                       \\\\\\\\\\\\\\\>>>o>>>>





Return-path: <origami-l@nstn.ca>
Date: Mon, 28 Oct 1996 22:48:55 -0400 (AST)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: L.A. Store Request

Garry Robertson, Fenco MacLaren, MCDV Project wrote:
> I'm going to L.A. on Tuesday for a brief business trip.
>
> Does anyone know of any book or paper stores in the Van Nuys and Sylmar
> area?

Here are some places in LA that have been mentioned on this list.

Asahiya Bookstores
There are three branches in CA:  LA, San Diego, and San Gabriel.

Bunkado
340 East First St
Los Angeles, CA 90012
(213) 625-8673

Kinokuniya Bookstore
123 Onizuka Street, Suite 205
Los Angeles   213-687-4480
The store is located on the second level of an outdoor mall
Weller Court that is attached to the New Otani Hotel, near Los
Angeles City Hall. Japanese bookstore with imported books,
prepackaged paper and washi. There are other stores in the area
that carry origami books and supplies.

Morning Glory,  a chain of Korean stationery stores.
Branches in the metropolitan LA, NY/NJ, Chicago, Seattle,
DC (Annandale, VA), Hawaii and Toronto areas.

Janet Hamilton

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





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 06:40:26 -0400 (AST)
From: lcmb@cochin.inserm.fr (Marc BRUCHACSEK)
Subject: Re: francais, aussi

>>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\
>>>=20
>
>Salut,
>
>Bien sur qu'il y a des gens qui parlent francais sur la liste! Moi aussi,
>j'aimerais voir plus de postes en francais, meme si moi je ne suis pas
>francophone-Canadien, je parle en francais tous les jours et ca serait une
>plaisir de pouvoir communique en francais ici a ORIGAMI-L.
>
>Janet Nielsen    nielseno@post.queensu.ca

        Bien sur nous sommes nombreux sur cette liste! En de nombreuses
langues. J'ai aussi trouve une correspondante, maintenant en direct, au
Bresil.

        It's nice having a multilingual list. I appreciate.

        Gostei muito de conhecer pessoas de varios paises.

        El Origami es internacional, y eso me gusta.

        Viele Freunde in viele Laender!

        MARC

..............................................................................

    _/_/_/_/  _/_/_/_/  _/_/_/_/  _/_/    _/        Marc Bruchacsek
     _/      _/        _/        _/ _/ _/_/         CNRS UPR 415
    _/      _/        _/  _/_/  _/   _/ _/          22 rue Mechain
   _/      _/        _/    _/  _/      _/           75014 Paris France
_/_/_/_/  _/_/_/_/  _/_/_/_/  _/      _/      bruchacsek@icgm.cochin.inserm.fr

I n s t i t u t  C o c h i n   d e   G e n e t i q u e   M o l e c u l a i r e





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 09:17:14 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: plieur de papier

>Comme dit Asterix le Gaulois, "Ils sont fous, ces Americains!"
>Justment, il y a, entre nous, quelques gens qui comprend en peu.
>
>Peter Ansoff
>(Alexandria, Virginia, USA)
>72460.1665@compuserve.com

And obviously, there are some who understand a lot!

                                                Cathy





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 09:37:54 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: francais, aussi

>
>        Bien sur nous sommes nombreux sur cette liste! En de nombreuses
>langues. J'ai aussi trouve une correspondante, maintenant en direct, au
>Bresil.
>
>        It's nice having a multilingual list. I appreciate.
>
>        Gostei muito de conhecer pessoas de varios paises.
>
>        El Origami es internacional, y eso me gusta.
>
>        Viele Freunde in viele Laender!
>
>
>        MARC
>
>
>..............................................................................
>
>    _/_/_/_/  _/_/_/_/  _/_/_/_/  _/_/    _/        Marc Bruchacsek
>     _/      _/        _/        _/ _/ _/_/         CNRS UPR 415
>    _/      _/        _/  _/_/  _/   _/ _/          22 rue Mechain
>   _/      _/        _/    _/  _/      _/           75014 Paris France
>_/_/_/_/  _/_/_/_/  _/_/_/_/  _/      _/      bruchacsek@icgm.cochin.inserm.fr
>
>I n s t i t u t  C o c h i n   d e   G e n e t i q u e   M o l e c u l a i r e
>...........................................................................
>
>

It is fun to see where people are writing from.....Sometimes you can guess
from the e-mail address, but not usually.  How about if we all noted our
hometowns in our messages for a bit, just to sort of get our bearings...

                                                                Cathy

                        Ste Julie, Quebec, Canada





Return-path: <origami-l@nstn.CA>
Date: Tue, 29 Oct 1996 10:09:57 -0400 (AST)
From: Jean Villemaire <boyer@videotron.CA>
Subject: Re: francais, aussi

Marc BRUCHACSEK a ecrit:

> >Bien sur qu'il y a des gens qui parlent francais sur la liste! Moi=
=20
> >aussi, j'aimerais voir plus de postes en francais, meme si moi je =
ne=20
> >suis pas francophone-Canadien, je parle en francais tous les jours=
 et=20
> >ca serait une plaisir de pouvoir communique en francais ici a >=
=20
>ORIGAMI-L.
> >
> >Janet Nielsen    nielseno@post.queensu.ca
>=20
>         Bien sur nous sommes nombreux sur cette liste! En de nombre=
uses
> langues. J'ai aussi trouve une correspondante, maintenant en direct=
, au
> Bresil.
>=20
>         It's nice having a multilingual list. I appreciate.
>=20
>         Gostei muito de conhecer pessoas de varios paises.
>=20
>         El Origami es internacional, y eso me gusta.
>=20
>         Viele Freunde in viele Laender!
>=20
>         MARC
>=20
> ...................................................................=
...........
>=20
>     _/_/_/_/  _/_/_/_/  _/_/_/_/  _/_/    _/        Marc Bruchacsek
>      _/      _/        _/        _/ _/ _/_/         CNRS UPR 415
>     _/      _/        _/  _/_/  _/   _/ _/          22 rue Mechain
>    _/      _/        _/    _/  _/      _/           75014 Paris Fra=
nce
> _/_/_/_/  _/_/_/_/  _/_/_/_/  _/      _/      bruchacsek@icgm.cochi=
n.inserm.fr
>=20
> I n s t i t u t  C o c h i n   d e   G e n e t i q u e   M o l e c =
u l=20
> a i r e

Alors, tu en fais beaucoup d'origami ?  Et tu donnes dans le molecula=
ire=20
?  Peux-tu m'aider =E0 mieux comprendre la page web "Molecular Origam=
i" :

=09http://www.tc.cornell.edu/er/dis22origami/dis22origami.html

Merci.

Jean Villemaire, Montreal, Quebec





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 10:14:37 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Etiquette  ( Re: francais, aussi )

Cathy Palmer-Lister wrote:

> It is fun to see where people are writing from.....Sometimes you can
> guess from the e-mail address, but not usually.  How about if we all
> noted our hometowns in our messages for a bit, just to sort of get our
> bearings...
>
>        Cathy
>        Ste Julie, Quebec, Canada

I second this motion.  When we all used conventional mail, we had these
manners.

Jean, Montreal, Quebec





Return-path: <origami-l@nstn.ca>
Date: Tue, 29 Oct 1996 11:23:31 -0400 (AST)
From: Jeannine Mosely <j9@concentra.com>
Subject: Menger's Sponge web page

Those of you who have been subscribers for a while may remember my
project to build a model of the fractal solid called Menger's Sponge
out of business cards using modular origami techniques.  I now have a
web site dedicated to this project.  Please take a look at

http://world.std.com/~j9/sponge/.

Thanks,

        Jeannine Mosely
