




Date: Tue, 10 Dec 1996 12:19:33 -0400 (AST)
From: DLister891@aol.com
Subject: T. Sundara Row

In her contribution titled "Origami math-ed article" dated 7th, December,
Valerie Vann recommended "Geometric Exercises in Paperfolding" as an
introduction to mathematical paperfolding and said that it was still in print
by Dover Publications and available from the OUSA Supply Center when she last
looked.

Yes, it is indeed still in print. What a remarkable publication this is! It
is               undoubtedly the oldest book on paperfolding in a western
langage remaining in print. (In the east, there may still be available one of
the modern Japanese reprints of Senbazuru Orikata, which was originally
printed in 1797)

The edition of T. Sundara row's book we are referring to is the translation
edited by two Americans: Wooser Woodruff Beman and David Eugene Smith. (What
wonderful names!)  Beman and Smith wrote "New Plane and solid Geometry" and
other books of geometry, which are still held in high regard.

The English translation of "Geometric Exercises in Paperfolding" was first
published by The Open court Publishing Company of La Salle, Illinois in 1901
(I have only Gershon Legman's word for this.) My own edition is the fourth,
published by Open Court in 1958. For all I know, this hardbacked edition is
still in print.

Dover publications Inc. of New York issued the paperbacked edition in 1966
and, of course, it remains in print  It is stated to be a republication of
the second edition of 1905. (Although Gershon Legman gives the date of the
second edition as 1904.)

The original author,T. Sundara Row remains something of a mystery.The
Introduction to the book  has by the signature: "Madras, India, 1893", which
may be taken as the place and date of the original publication.

Although the author's name is spelt "Row" in all recent editions, it seems to
have been originally spelt (in English characters) as "Rau" with a ~ over the
a, (I'm sorry that my keyboard for e-mail won't allow me to put the accent
over the letter.) This was so in the second edition that Brian Bishop found
in the British Museum Library and I have come across this spelling elsewhere,
although I cannot trace the reference immediately.

It would seem that Sundara Row was an Indian, but this is not certain. His
name certainly seems to be Indian.

What was the original language? In his Bibliography of Paperfolding, Gershon
Legman appended the query: "German?" It is not clear why German should have
suggested itself to him, except that the Editors' Preface to the English
translation says that their attention was first attracted to the book by a
reference in Klein's "Vorlesungen uber ausgewahlte Fragen der
Elementargeometrie" ("Lectures on Selected Questions of Elementary
Geometry"). The author of this work was the famous Felix Kein of  Klein
Bottle fame. This in itself does not seem to be an adequate reason for
supposing that Sundara Row's orignal book was written in German. At the time,
Madras was ruled by the British and there was no particular German influence
there. It would seem that one of the native Indian lanuages would be far more
likely.But if so, how did it come to the notice of the German Klein? And what
was an Indian pedagogue doing writing about paperfolding and geometry?

As Valerie Vann says, "This isn't Origami". I should have thought so too, but
in the light of questions on the definition of "origami" raised in Origami-L
recently, I'm not so sure! Anyway, what does it matter: it's a book that
should be in every origamist's library.

David Lister,

Grimsby, England

DLister891@AOL.com





Date: Tue, 10 Dec 1996 12:49:22 -0400 (AST)
From: Tim Heil <teach@ezl.com>
Subject: Reverse Folds

        I've been reading the origami-l archives and have found many hints
and tips on folding of all kinds.  Your past suggestions have helped me
improve my folding dramatically.  However, one thing that I haven't seen
addressed is reverse folds.  At first glance, reverses may seem to be
trivially easy, but as I try to do more complex models, I find I'm having a
little trouble.

        I should mention that I've never met another folder face-to-face, so
all of my origami knowledge so far has come from reading books (and this
list).  All of the books I've read so far (if they mention it at all)
suggest to pre-crease a reverse fold by valley folding the point or corner
over to the angle that the reverse will eventually occupy.  This works well
on simple models. e.g.  , cranes.  However on complex models where a reverse
may applied to a point which has many more plies of paper, a problem arises.
The outside of the precrease has a larger radius than the inside and when I
then make the actual reverse fold, it wants to twist or offset to one side.
With thinner paper I can usually sorta smoosh things around so that they
look pretty good but with heavier paper or with a lot of layers, things can
get sloppy really fast.

        I've tried pre-creasing both ways, i.e. doing first a valley fold
then a mountain fold on the same place.  I've tried just swinging the point
around to the desired angle and flattening the fold at that point. Maybe I
just need more practice?  Maybe my first attempts on any given model should
be with larger paper so thickness-to-width ratio would be more favorable?

        Any help or comments here would be appreciated.  Thanks in advance.
----------------------------------------------------------------
|| Tim Heil                ||     I wouldn't have seen it     ||
|| (teach@ezl.com)         ||     if I hadn't believed it.    ||





Date: Tue, 10 Dec 1996 14:09:12 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Hello!!

At 06:06 AM 12/10/96 -0400, you wrote:
>
>       Hi!!I am new here...And I was wondering, if someone could help me
>to start in the origami art. What should I do ? How do I start...Help!!
>
>                           Thank you all!!
>
>Pedro Gaspar
>E-mail : i950694@groucho.idt-isep.ipp.pt
>
>
Fascinating Folds has an on-line instructional page for how to make the
traditional origami swan, if you get stuck you can post your questions on
the list.  I'd also recommend bookmarking a lot of origami pages just to
compare all the different techniques, models, and styles.  Here are some of
my favorite links:

http://www.nol.net/~barber/origami/ (Alex Barber's page, with archives)
http://www.fascinating-folds.com/ (This has a list of books for experts,
intermediates, and beginners, with an excellent on-line view and synopsis)
http://www.datt.co.jp/Origami/ (Joseph Wu's origami page)
http://users.aol.com/valerivann/index.html
http://www.ogi.edu/~gren/other-origami.html (Gretchen Klotz's page)
http://www.rpmrecords.co.uk/bos/ (Home Page for the British Origami Society)
http://www.eskimo.com/~marmonk/origami.htm (Mark's Origami Olio)

You've probably already found these through one of your searches, but just
in case...

P.S. - Welcome to the Origami List, we're all learning all the time.  I'd be
glad to help you if you get stuck, so would anyone else on the list!

                         ''~``
                        ( o o )
+------------------.oooO--(_)--Oooo.------------------+
|                                                     |
|          "Origami: Welcome to the Fold!"            |
|                Steve Woodmansee                     |
|              Bend, Oregon U.S.A.                    |
|                                                     |
|                    .oooO                            |
|                    (   )   Oooo.                    |





Date: Tue, 10 Dec 1996 14:09:51 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Folding memories

Hola, Juancarlos!

So sorry to hear about your contract.  What type of work do you do?  My
company is pursuing some business in S. America, or maybe you want to move
to Oregon...?  Can you send a resume to me?  Hope it's not too late for you
to get this e-mail!!!

                         ''~``
                        ( o o )
+------------------.oooO--(_)--Oooo.------------------+
|                                                     |
|          "Origami: Welcome to the Fold!"            |
|                Steve Woodmansee                     |
|              Bend, Oregon U.S.A.                    |
|                                                     |
|                    .oooO                            |
|                    (   )   Oooo.                    |





Date: Tue, 10 Dec 1996 14:30:49 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Reverse Folds

At 12:49 PM 12/10/96 -0400, Tim Heil wrote:
(snip snip) However on complex models where a reverse
>may applied to a point which has many more plies of paper, a problem arises.
>The outside of the precrease has a larger radius than the inside and when I
>then make the actual reverse fold, it wants to twist or offset to one side.
>With thinner paper I can usually sorta smoosh things around so that they
>look pretty good but with heavier paper or with a lot of layers, things can
>get sloppy really fast.
>
>        I've tried pre-creasing both ways, i.e. doing first a valley fold
>then a mountain fold on the same place.  I've tried just swinging the point
>around to the desired angle and flattening the fold at that point. Maybe I
>just need more practice?  Maybe my first attempts on any given model should
>be with larger paper so thickness-to-width ratio would be more favorable?
>
        I've occasionally had the same problem, and not just with reverse
folds.  I also have never had live contact with other folders (other than
this list) and have had to rely on printed material and web pages for my
instruction.  So here are my methods:

        1.  Go back a few steps and try to determine what the diagram is
trying to accomplish (put the fold in context).
        2.  Go forward a few steps to try to figure out what subsequent
folds depend on the questionable step.
        3.  Try skipping the step.  Sometimes I've completed an entire model
with an entire step (or two, it must be admitted) missing.  Either one of
two things happens:
                a)      The model looks atrocious.  This generally makes it
obvious what the confusing step was trying to do.
                b)      The model looks fine.  In this case, I like to fold
the model several more times.  Eventually the intent
of the confusing step becomes apparent because the
rest of the steps have become so familiar.
        4.  If all of the above doesn't work, throw yourself on the mercy of
this list again!

Good luck!!

                         ''~``
                        ( o o )
+------------------.oooO--(_)--Oooo.------------------+
|                                                     |
|          "Origami: Welcome to the Fold!"            |
|                Steve Woodmansee                     |
|              Bend, Oregon U.S.A.                    |
|                                                     |
|                    .oooO                            |
|                    (   )   Oooo.                    |





Date: Tue, 10 Dec 1996 14:31:17 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Apologies

Sorry all, my last two posts were supposed to be private to Juancarlos.

                         ''~``
                        ( o o )
+------------------.oooO--(_)--Oooo.------------------+
|                                                     |
|          "Origami: Welcome to the Fold!"            |
|                Steve Woodmansee                     |
|              Bend, Oregon U.S.A.                    |
|                                                     |
|                    .oooO                            |
|                    (   )   Oooo.                    |





Date: Tue, 10 Dec 1996 14:34:33 -0400 (AST)
From: Pat Slider <slider@yosemite.net>
Subject: Re: Re: Folding from Circlular paper.

At 04:23 AM 12/10/96 -0400, you wrote:
>Tim Heil <teach@ezl.com> sez
>
>>rhombic, pentagonal, hexagonal and octagonal paper,
>
>Most of these can easily be created with minimal wastage by folding,
>then it becomes a purism vs. efficiency issue. Shen has used 5 & 6 sided
>paper to beautiful effect. Can't quite see the point of circular paper
>unless the final design uses the original curved edge. Francis Ow has
>created some that fit this bill - they're in one of his self-published
>booklets...

Don't leave out Toshie Takahama....She seems quite fond of these paper
shapes! Not just for her flowers either.

(The other night I folded Lewis Simon's "Snow Crystal", which she included
in her book "Creative Life With Creative Origami Vol III". This model, from
hexagonal paper, is quite an impressive Christmas ornament. It really does
look like a snowflake. And if it didn't have those dozen little sinks, I
would fold more of them as gifts :->.)

oh. And I have what I think is an old Toshie Takahama book. (Japanese blue
tradeback with red crane in white circle.) In it are two different fish
models folded from circular paper. Been meaning to try the diagrams on a
tortilla :->.

pat slider
slider@yosemite.net





Date: Tue, 10 Dec 1996 15:11:58 -0400 (AST)
From: Pat Slider <slider@stonecutter.com>
Subject: Re: Hello!!

At 02:09 PM 12/10/96 -0400, you wrote:
>At 06:06 AM 12/10/96 -0400, you wrote:
>>
>>      Hi!!I am new here...And I was wondering, if someone could help me
>>to start in the origami art. What should I do ? How do I start...Help!!
>>
>>                     Thank you all!!
>>
>>Pedro Gaspar
>>E-mail : i950694@groucho.idt-isep.ipp.pt
>>

I like to recommend Gay Merrill Gross's "Origami Workshop" or the Biddle's
"Essential Origami" for beginning adults. The diagrams in these books are
quite clear, and the models selected for these more interesting than most
"first" books.

(The Sakade book is nice, but I think it is directed more toward children.)

pat slider
slider@stonecutter.com

(Yes, for those who noticed, this is a new address....But the old one works
as well, so no need for anyone to change their address books.)





Date: Tue, 10 Dec 1996 18:52:40 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Reverse Folds

At 12:49 PM 12/10/96 -0400,Tim Heil <teach@ezl.com> wrote:

>        I've been reading the origami-l archives and have found many hints
>and tips on folding of all kinds.  Your past suggestions have helped me
>improve my folding dramatically.  However, one thing that I haven't seen
>addressed is reverse folds.  At first glance, reverses may seem to be
>trivially easy, but as I try to do more complex models, I find I'm having a
>little trouble.
>
>        I should mention that I've never met another folder face-to-face, so
>all of my origami knowledge so far has come from reading books (and this
>list).  All of the books I've read so far (if they mention it at all)
>suggest to pre-crease a reverse fold by valley folding the point or corner
>over to the angle that the reverse will eventually occupy.  This works well
>on simple models. e.g.  , cranes.  However on complex models where a reverse
>may applied to a point which has many more plies of paper, a problem arises.
>The outside of the precrease has a larger radius than the inside and when I
>then make the actual reverse fold, it wants to twist or offset to one side.
>With thinner paper I can usually sorta smoosh things around so that they
>look pretty good but with heavier paper or with a lot of layers, things can
>get sloppy really fast.
>
>        I've tried pre-creasing both ways, i.e. doing first a valley fold
>then a mountain fold on the same place.  I've tried just swinging the point
>around to the desired angle and flattening the fold at that point. Maybe I
>just need more practice?  Maybe my first attempts on any given model should
>be with larger paper so thickness-to-width ratio would be more favorable?

With your last statement, you seemed to have answered your own question.
When thichness is the issue, larger paper often provides the bulk of the
solution. Still, for any multilayerd area a procedure is to be performed
on, extra care must be taken. When I am trying to fold at my best (i.e.,
not sloppy), I try to avoid precreasing. For most procedures, such as sinks
and reverse folds, the direction of the folds (mountain or valley) has to
be changed. With a multi-layered area, things can start getting messy. In
liew of precreasing, I will just put in tick marks, from wich I can form
the fold in the proper direction. Since I am first making only one fold at
a time, I can use my free hand to hold the layers in place. Generally, I
will align the layers first, and then grip them tightly near the area to be
folded. I will repeat this for as many folds are needed, and then I can
just collapse the paper into the desired form.

Marc





Date: Tue, 10 Dec 1996 18:58:27 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Hello!!

At 06:06 AM 12/10/96 -0400, Pedro Gaspar wrote:
>
>       Hi!!I am new here...And I was wondering, if someone could help me
>to start in the origami art. What should I do ? How do I start...Help!!

A good idea is to find a local origami group. With origami's popularity
increasing, chances are, you can find one in your country. A listing of
most of the origami groups can be found at Zack Brown's web page. Here is
the URL:

http://lynx.neu.edu/home/httpd/z/zbrown/origami/

Good luck!
Marc





Date: Tue, 10 Dec 1996 21:12:02 -0400 (AST)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: partitioning a line

On Mon, 9 Dec 1996, Jeannine Mosely wrote:

>
> The problem in question is one that comes up on this list often: how
> do you divide a line into n equal parts.  One solution that I have
> seen given on this list and in at least one origami book (and on
> Robert Lang's CD-ROM, I think) involves finding the intersection of
> two lines of different slopes.  If two lines of slope 1/n and -1/m
> each have one endpoint at opposite ends of the segment to be
> partitioned, the projection of their intersection onto the segment
> will divide it into pieces in the ratio of m to n.  (This proceeds
> fairly trivially from the law of sines.)
>
> So, for example, if you wish to divide an edge in thirds, fold one
> diagonal of a square (slope = 1) and make a crease between one of the
> other corners and the midpoint of an edge (slope = 2).  Their
> intersection point is 1/3 of the way between two opposite sides.
>

Cool!  After reading the article sighted, it appears that their findings
are a direct result of this principle.  This seems to be one area in
which the origami community is ahead of the Mathmatics community in
general. :)
Although, to be fair to these two geniuses, they discovered their
constructions without being aware of the above law.

Out couriosity, I re-examined the diagrams for Montrol's monkey in
"Mythological Beings..."  He appears to be doing the inverse of the above.
He creates the diagonal on the square (slope 1).  He then finds the point
on the diagonal that divides the square in eights. The crease running
from the ajacent corner through that point would have a slope of 7, thus
dividing the square in sevenths.

Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





Date: Tue, 10 Dec 1996 22:02:05 -0400 (AST)
From: CThackeray@aol.com
Subject: Re: Non-square Paper

Free form folding is one of the niffty suggestions in James Sakoda's book
"Origami Flower Arrangement" Which reminds me, Mr. Sakoda, I don't mean to
nag, but I'm still waiting for your new book!!!





Date: Tue, 10 Dec 1996 23:34:29 -0400 (AST)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Fingers... only ten fingers! (and purses)

Tim Heil wrote:
>         However, since I seem to have brought up the subject,  does anyone
> else know of other purse/coin purse/needle/stamp/button kind of containers?

For functional containers, how about any of Fuse's boxes?  Most are modular,
     but she does have a book "Boxes in
One Piece" from a single sheet of paper (usually not square, though).  Also,
     "The Art of Origami" by Gay
Merrill Gross has a whole section called "Boxes, Bags, and Other Containers"
     featuring the Masu box, a box
divider, card case, photo holder, wallet, shopping bag, basket, and envelope.
     "Pfiffiges Origami" by Paulo
Mulatinho has a picture frame, notebook, container, folder, envelope, bowl, and
     gift box.  This book has been
translated to English and can also be found as "Origami, 30 Fold-by-Fold
     Projects".  The book mentions a
Professor Humi Huzita who seems to specialize in folding useful objects.  Does
     anyone know where he may have
other models published?

Janet Hamilton

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





Date: Tue, 10 Dec 1996 23:54:42 -0400 (AST)
From: Robyn Meyer <rmeyer@netadvantage.com.au>
Subject: a little side track on the subject of money folds...

Can *ANYONE* fold anything from the Australian polymer notes that
actually holds it's shape? I tried to make a peacock and I think the
note will never be the same again! I evy the American money ... would
be a great present folded money *sigh* :))

Robyn xxx





Date: Wed, 11 Dec 1996 02:15:05 -0400 (AST)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Kawasaki's "Spiral Snail Shell"

Hi Gang! -

        Just a quick question:  has anyone figured out the secret to
folding Toshikazu Kawasaki's (or is that Kawasaki Toshikazu's???) "Spiral
Snail Shell" from _Origami for the Connoisseur_ using the undocumented
method that produces only the one lone opening?  (The diagrammed and
published version produces four openings, which isn't very realistic).  I
can't for the life of me figure it out, despite numerous tries.  Has anyone
been successful at figuring it out?  If so, might I persuade you to pass
along the secret?  I'd be most grateful!  8-D  Thanks in advance!

Jerry D. Harris                       (214) 768-2750
Dept. of Geological Sciences          FAX:  768-2701
Southern Methodist University
Box 750395                            jdharris@post.smu.edu
Dallas  TX  75275-0395                (Compuserve:  102354,2222)

                                              .--       ,
                                         ____/_  )_----'_\__
                                 ____----____/ / _--^-_   _ \_
                         ____----_o _----     ( (      ) ( \  \
                       _-_-- \ _/  -          ) '      / )  )  \
"Evolution: It's      _-_/   / /   /          /  '     /_/   /   \
Not For Every-       //   __/ /_) (          / \  \   / /   (_-C  \
Body!"              /(__--    /    '-_     /    \ \  / /    )  (\_)
                   /    o   (        '----'  __/  \_/ (____/   \
  -- Michael       /.. ../   .  .   ..  . .  -<_       ___/   _- \
     Feldman       \_____\.: . :.. _________-----_      -- __---_ \
                    VVVVV---------/VVVVVVVVV      \______--    /  \
                         VVVVVVVVV                   \_/  ___  '^-'___
                                           _________------   --='== . \
                     AAAAAAAAAAAAAAAAAAA--- .      o          -o---'  /





Date: Wed, 11 Dec 1996 02:31:22 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Kawasaki's "Spiral Snail Shell"

On Wed, 11 Dec 1996, Jerry D. Harris wrote:

=        Just a quick question:  has anyone figured out the secret to
=folding Toshikazu Kawasaki's (or is that Kawasaki Toshikazu's???) "Spiral
=Snail Shell" from _Origami for the Connoisseur_ using the undocumented
=method that produces only the one lone opening?  (The diagrammed and
=published version produces four openings, which isn't very realistic).  I
=can't for the life of me figure it out, despite numerous tries.  Has anyone
=been successful at figuring it out?  If so, might I persuade you to pass
=along the secret?  I'd be most grateful!  8-D  Thanks in advance!

It *is* published, but not in "Origami for the Connoisseur". Try looking
"Origami: El Mundo Nuevo", also by Kasahara. Another place is in one of the
Oru magazines...I forget which one. I think it might also be in Fuse's
"Spirals" book, but I'm not sure of that, either.

I can't remember the method offhand, but I do remember that the "trick"
happens very early in the folding process and it consumes a large amount of
paper. A 10-inch square of kami will give a shell that is only about 3 inches
long from tip to tip (top of spiral to bottom of the shell) and is very thick.

          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





Date: Wed, 11 Dec 1996 02:40:40 -0400 (AST)
From: Laurie Bisman <lbisman@sirranet.co.nz>
Subject: I'm Back

Just a quick note to say that if anyone has been e-mailing me over the last
4 or 5 weeks and I haven't replied, please resend.

I had to have a heart valve replaced and consequently ended up in hospital
- I have been out now for about three weeks and this is the first time I
have felt like computing.

I am now fighting fit although I think I can say with some conviction that
this last month has been the least favourable that I can remember. I
certainly can't recommend heart surgery to anyone..

Laurie Bisman
lbisman@sirranet.co.nz





Date: Wed, 11 Dec 1996 05:49:47 -0400 (AST)
From: PEDRO GASPAR <i950694@groucho.idt-isep.ipp.pt>

        I would like to thank you all, fot the atention that you give me.
I am very glad to be in your list...Thank you all!!!

Pedro Gaspar
Portugal





Date: Wed, 11 Dec 1996 07:01:27 -0400 (AST)
From: Dorinha Miriam Silber Schmidt Vitti <dovitti@cena.usp.br>
Subject: Re:

Pedro:se voce quiser podemos falar um pouco portugues.Sou do Brasil e estou
tambem na lista. Temos aqui um grupo de origami. Escreva-me no meu E-mail.
Hi All: sorry to write a few words in portuguese, but I was given welcome to
Pedro Gaspar. Dorinha.
At 05:50 11/12/96 -0400, you wrote:
>
>       I would like to thank you all, fot the atention that you give me.
>I am very glad to be in your list...Thank you all!!!
>
>
>Pedro Gaspar
>Portugal





Date: Wed, 11 Dec 1996 10:18:17 -0400 (AST)
From: Mark Morden <marmonk@eskimo.com>
Subject: Seattle's December PAPER meeting

To any Northwest lurkers out there, the December PAPER meeting will be Sunday,
December 15, from 1-3 p.m., at the University Heights Community Center (5031
University Way NE), Room 103. This room is at the south end of the first
floor.  On the agenda is a Tomoko Fuse triangular box with a non
traditional crane folded into the top and another modular ornament.

I hope you can make it.  Please bring your latest folds to share or photos
or books or anything else origami. Also, a couple of bucks to help pay for
the room rental would be appreciated.  If you have any questions or need
directions to the community center, please email me at the address below.

Hope to see you there.

Mark

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

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





Date: Wed, 11 Dec 1996 11:36:59 -0400 (AST)
From: "James M. Sakoda" <James_Sakoda@Brown.edu>
Subject: Re: Reverse Folds

>>        I've tried pre-creasing both ways, i.e. doing first a valley fold
>>then a mountain fold on the same place.  I've tried just swinging the point
>>around to the desired angle and flattening the fold at that point. Maybe I
>>just need more practice?  Maybe my first attempts on any given model should
>>be with larger paper so thickness-to-width ratio would be more favorable?
>
     You don't seem to understand what a reverse fold consists of.  In a
reverse fold a folded edge is folded, with the folded part either going
inside the fold or outside of it.  In either case three creases are needed.
The folded edge (the part that is moved) requires a valley fold.  It would
help if diagrammers would actually indicate a valley fold of that part of
the edge.  The angle of the fold on the sides is generally shown.  For an
inside reverse fold these folds are both mountain folds, even though
precreasing will make one of each.  In the case of an outside reverse fold,
these are both valley folds.  If necessary make each of these three creases
separately before pushing the folded edge inside for the inside reverse
fold or flipping them out over the folded edge for the outside reverse
fold.  Hope this helps.  James M. Sakoda, author of Modern Origami.





Date: Wed, 11 Dec 1996 11:41:26 -0400 (AST)
From: "James M. Sakoda" <James_Sakoda@Brown.edu>
Subject: Re: Connected Money Folds

>       Recently on this list there has been some discussion of the forms
>of origami.  Mentioned within this thread has been connected origami.
>The example given is of cutting a large square into several smaller
>connected squares and then proceeding to fold connected cranes out of it.
>I've seen this in a few books some time ago, but never have tried it.
>       My particular area of interest in origami is money folding.  It
>is possible to obtain uncut sheets of U.S. currency in various standard
>sizes; either a four bill sheet, 16 bill sheet, or the big one, a 36 bill
>sheet.  I have several books on money folding and can fold a great many
>models from a U.S. dollar.  My question to the list, and reason for
>posting this is: Has anyone tried connected money folds?  If so, which
>model was used?  What cutting pattern was used?
>       I ask, because before I go about experimenting with this, I'd like
>some direction, or advice.  When using U.S. currency for your type of
>paper to fold, you are working with paper that has an actual cash value.
>Also, in most cases, the purchase price of uncut sheets of currency is
>higher than the face value.  I enjoy origami, but would perfer to avoid
>some expensive failed efforts if at all possible.  Although I can
>certainly spend any money which I have severly creased or mangled in
>other ways, I'll need a new uncut sheet to start my next attempt with.
>       I invite any comments on this subject.  Either via private e-mail
>or postings on the list.  List posting may prove best as they promote
>more feedback.  Thanks to all.
>
>Matt Birchard
>Portland, Oregon  USA
><psu05992@odin.cc.pdx.edu>

Sembazuru orikata is usually done with connected square sheets and each one
is folded into a crane (orizuru).  Using a dollar bill presents  problems.
However, if you are going to experiment you can use cut paper or play
money, which can be connected with masking tape..  A good source of paper
money is Chinese hell bank money, used for burning at funerals, I believe.
They are available in some Chinese or Korean stores, and are approximately
the size of American dollar bills.  One suggestion that I have is to fold
the dollar bill into a diamond shape by folding from one corner to the
opposite one and folding a second line by folding a perpendicular line to
the diagonal one.  Then fold in the two remaining corners to form a diamond
shape.  This can be folded into a bird base and one can try a variation of
some kind of bird or perhaps some long animal.  Cutting the connected
squares will be tricky because one must first determine where the side
corners are going to be.  All of the long creases will have to be
connectable to another one and the same with the shorter ones.    First try
folding the flapping bird--the neck and tail are long and narrow and do not
need narrowing as one does with the Orizuru.  With the neck and tail
stretched out the connections from head to tail and wing to wing  should
work out well.   For previously folded patterns you should consult the
reprint of the Sembazuru Orikata, put out by the Nippon Origami
Association.  Hope this helps.  James M. Sakoda, author of Modern Origami.





Date: Wed, 11 Dec 1996 12:03:31 -0400 (AST)
From: James_Sakoda@Brown.edu (James M. Sakoda)
Subject: Re: Non-square Paper

>Free form folding is one of the niffty suggestions in James Sakoda's book
>"Origami Flower Arrangement" Which reminds me, Mr. Sakoda, I don't mean to
>nag, but I'm still waiting for your new book!!!
I have been sidetracked by a number of things that have come along--money
folds, knot origami using quarter inch strips from a paper shredder.  Right
now I am working on revisions for Modern Origami, which Dover Publications
says will come out next fall.  In addition to writing a new Preface, I am
now concentrating on the perfection of my SST, winner of the origami design
prize at the first international paper airplane contest.  I have deveoped a
lock for the nose, but now find after experimentation that it is better if
some gap is left is left in the channel between the two wings.  Opening the
gap seems to provide some lift, and I am wondering whether or not the
Bernouli principle applied to airplane wings is coming into play. k So the
revision of the flower arrangement book won't be soon.  Sorry.  James M.
Sakoda





Date: Wed, 11 Dec 1996 12:06:56 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Non-square Paper

Ian Carrie wrote:
+Further to Tim Heil's comments, recently I followed up Paul Jackson's
+suggestion and tried my hand at folding the traditional 4-petal lily (and
+iris) pattern using triangular and hexagonal instead of square paper. The
+hexagonal one folded with two-sided yellow/orange paper makes a very fine
+daffodil.

Ted Norminton has an excellent Daffodil model in Jackson's "Classic Origami"
(which has been re-released in the USA, cojoined with other books, under at
least two other titles - "Make it With Paper" is the only one I can think of
at the moment, and I can't remember the other author of that one).

Anyways, Norminton's model is a wonderful flower, one of my personal
all-time top 10 and one of the best flower models I've seen.  Even though it
has a twelve sided sink, it is an open sink that is very easy to do because
you can open the paper all the way up.  After that it is a lot of repetition
(50% more than from a 4 sided paper. ;-) ).  But the result is very lifelike.
He even has a simple stem and leaf with it that allows the model to stand.

-Doug





Date: Wed, 11 Dec 1996 12:59:11 -0400 (AST)
From: Jeannine Mosely <j9@concentra.com>
Subject: non-convex paper

There has been a lot of discussion about paper shapes lately, with
mention of various rectangles, circles, rhombuses, triangles,
pentagons, hexagons, etc, but one thing people almost never seem to
fold from are non-convex shapes.  For the non-mathematicians out
there: a polygon is convex if any two points inside it can be
connected by a straight line that is also completely inside it.  So a
pentagon is convex and a pentagram (5 pointed star) is not.  I have
somehow always felt that these shapes were "unclean" for origami
purposes, but I can't really justify this.

        -- Jeannine Mosely





Date: Wed, 11 Dec 1996 13:09:03 -0400 (AST)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: partitioning a line

Kim Best wrote:

   On Mon, 9 Dec 1996, Jeannine Mosely wrote:

   >
   > The problem in question is one that comes up on this list often: how
   > do you divide a line into n equal parts.  One solution that I have
   > seen given on this list and in at least one origami book (and on
   > Robert Lang's CD-ROM, I think) involves finding the intersection of
   > two lines of different slopes.  If two lines of slope 1/n and -1/m
   > each have one endpoint at opposite ends of the segment to be
   > partitioned, the projection of their intersection onto the segment
   > will divide it into pieces in the ratio of m to n.  (This proceeds
   > fairly trivially from the law of sines.)
   >
   > So, for example, if you wish to divide an edge in thirds, fold one
   > diagonal of a square (slope = 1) and make a crease between one of the
   > other corners and the midpoint of an edge (slope = 2).  Their
   > intersection point is 1/3 of the way between two opposite sides.
   >

   Cool!  After reading the article sighted, it appears that their findings
   are a direct result of this principle.  This seems to be one area in
   which the origami community is ahead of the Mathmatics community in
   general. :)
   Although, to be fair to these two geniuses, they discovered their
   constructions without being aware of the above law.

I also managed (finally) to get through to the URL and read the
article.  It is impressive that the two boys discovered this
construction without being aware of this principle, but I am
surprised that in the course of proving the correctness of their
algorithm, they did not re-discover it.  But I am much more concerned
that their math instructor was unaware of this!  He regards their
algorithm as a genuinely "new" result in mathematics, when it is just
a variant of something we origamists (at least) have known for a long
time.

        -- Jeannine Mosely





Date: Wed, 11 Dec 1996 16:22:02 -0400 (AST)
From: cwalker@wheel.dcn.davis.ca.us (Cindy Walker)
Subject: Re:

12.11.96

Pedro Gaspar:

Where in Portugal are you?  I lived in Salamanca in 1980 while I was
finishing college.  The Iberian Peninsula will always be the friendliest
place to travel, study, visit.  Hope to hear from you soon!

John Russell Batchelder

>
>       I would like to thank you all, fot the atention that you give me.
>I am very glad to be in your list...Thank you all!!!
>
>
>Pedro Gaspar
>Portugal
>
>
--
JOHN RUSSELL BATCHELDER
PO BOX 1154
DAVIS, CA 95617

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





Date: Wed, 11 Dec 1996 17:42:41 -0400 (AST)
From: OrigamiCMM@aol.com
Subject: I am finally back : )

After forgetting about my AOL account for awhile, i decided to come back on,
only to find over 1000 messages! i am happy, though, because i have gotten
rid of all of those, and am now back on the list again : )

OrigamiCMM@aol.com
o.o.o.o.o.o.o.o.
0 Chris Miller 0
o.o.o.o.o.o.o.o.





Date: Wed, 11 Dec 1996 17:49:20 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: non-convex paper

At 12:59 PM 12/11/96 -0400, Jeannine Mosely <j9@concentra.com> wrote:
>
>
>There has been a lot of discussion about paper shapes lately, with
>mention of various rectangles, circles, rhombuses, triangles,
>pentagons, hexagons, etc, but one thing people almost never seem to
>fold from are non-convex shapes.  For the non-mathematicians out
>there: a polygon is convex if any two points inside it can be
>connected by a straight line that is also completely inside it.  So a
>pentagon is convex and a pentagram (5 pointed star) is not.  I have
>somehow always felt that these shapes were "unclean" for origami
>purposes, but I can't really justify this.

For the sake of argument, we can say the square is the most pure shape.
>From a square, any other convex polygon can be formed by outlining the
shape with simple valley folds. For example, an octogon can be formed be
folding the four corners in partway. While non-convex polygons can be
formed through folding, much more involved techniques must be used to
derive the *points* of the shape. This is somewhat akin to  forming an
origami model with the appendages already in place. Part of the magic of
origami is the fact it is possible to form appendages through folding
alone; starting with a non-convex shape defeats this.
Marc





Date: Wed, 11 Dec 1996 19:22:13 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Origami photos on the web.

After way too long, I have finally gotten my photos of the Origami Club of
Pittsburgh's (OCoP) Bird Exhibit at the Pittsburgh National Aviary online.
You can get to it from my origami page (if you have it bookmarked), or you
can go directly there:
        http://www.pgh.net/~dwp/aviary/Gallery.html

There are links from there to other OCoP pages, and there should soon be a
link from the other OCoP pages to here.

Please let me know via email if any models have been incorrectly creditted!

Thanks to everyone who submitted models!

-Doug (25.18.11.12.96)





Date: Wed, 11 Dec 1996 20:33:19 -0400 (AST)
From: Michael & Janet Hamilton <mikeinnj@concentric.net>
Subject: Origami Sighting

The Winter 1996 Issue of Disney News Magazine contains an article called
"Holiday at the Parks".  In describing the decorations at Epcot Center,
the article states:

"Accuracy is the key when it comes to decorating here.  Everything must
be indigenous to the country represented, right down to the plants used
in wreaths.  The German tree has nutcracker wood carvings and
gingerbread; the Japanese tree features origami; the French pavilion
gleams under twinkling white lights like those that line the Seine in
Paris."

There is also a page giving diagrams and instructions for folding the
traditional crane.

Janet Hamilton

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





Date: Wed, 11 Dec 1996 21:11:44 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: non-convex paper

On Wed, 11 Dec 1996, Jeannine Mosely wrote:

=There has been a lot of discussion about paper shapes lately, with
=mention of various rectangles, circles, rhombuses, triangles,
=pentagons, hexagons, etc, but one thing people almost never seem to
=fold from are non-convex shapes.  For the non-mathematicians out
=there: a polygon is convex if any two points inside it can be
=connected by a straight line that is also completely inside it.  So a
=pentagon is convex and a pentagram (5 pointed star) is not.  I have
=somehow always felt that these shapes were "unclean" for origami
=purposes, but I can't really justify this.

Well, non-convex shapes are really just convex shapes that have been cut,
right? For example, you can convert a pentagon in to a pentagram by cutting
away the relavent portions. You can also cut a perpendicular from the midpoint
of each of the edges of the pentagon and then fold the flaps in to make the
pentagram (with thicker points). Where's the limit to this? Regular non-convex
shapes? Or can we just cut out points for each of the limbs of an animal and
do a minimal amount of folding to get a result? I think that's why it feels
"unclean": it's hard to say where the cutting takes over from the folding as
the chief means of producing a model.

          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





Date: Wed, 11 Dec 1996 21:24:20 -0400 (AST)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: non-convex paper

On Wed, 11 Dec 1996, Jeannine Mosely wrote:

>
>
> I have
> somehow always felt that these shapes were "unclean" for origami
> purposes, but I can't really justify this.
>
>       -- Jeannine Mosely
>

I can think of one justification.  I you allowed  non-convex paper you
couldn't exclude cutting, since any model that uses cuts could also be
folded from a suitably fashioned non-convex  piece of paper.

Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





Date: Thu, 12 Dec 1996 00:07:49 -0400 (AST)
From: Basyrett@aol.com
Subject: Re: Hello!!

Pedro,
Some ways to get started are
1.      look for origami groups in your area.  Go to a meeting and enjoy.
2.      check out the library for origami books.  Most models are rated from
simple to complex.  Start with simple and work you way up
3.      look for adult ed classes (that's what I did)
4.      contact Origami USA at 15 West 77 Street
                                   New York, NY 10024-5192
        It is an organization of folders that publishes a newletter and has
     folding
sessions plus organizes a June convention.

I hope these suggestins help
basyrett, Long Beach NY





Date: Thu, 12 Dec 1996 00:21:57 -0400 (AST)
From: Steven Casey <scasey@enternet.com.au>
Subject: The Unified Fold Theory (Formerly: The forms of Origami)

Jerry D Harris wrote:

>        I certainly don't want to jump into a form war here, but I'm
>curious as to how many different "kinds" (I suppose, as an evolutionary
>scientist, I ought to use the word "species"  8-D  ) of origami people
>generally accept.  I usually only think of 3 different kinds:
>
>* Single sheet -- obviously, where models are produced from single pieces
>of paper (regardless of shape),
>
>* Modular -- where a model is produced from several identical folded pieces
>(modules).  Often there is only one kind of module used, but some models
>require combinations of 2 or 3 module types, and
>
>* Composite -- where a model is produced from two or more differing pieces.
>Examples would be many of the models in Honda's _World of Origami_,
>Yoshizawa's _Sosaku Origami_, and Kasahara's _Creative Origami_ where a
>quadruped is composed of two pieces of paper:  one for the front end of the
>body, and another for the rear; the two pieces require different folding
>methods and are not identical (and thus are not "modules").
>

James Sakoda  wrote:
>There is also pop-up cards by Chatani, which are
>designed and cut so that an object appears when the card is opened.

What I accept as origami, ( A unified definition of Origami )

Cuts:

In accepting as a form of "origami" a finished "work" containing cuts I ask
myself, is the cutting a minor technique , an easy way to solve a modeling
problem where the folding out ways the cutting?. Is the expertise and skill
in the cutting or the folding? If the answer is that the output is dependant
on cutting then I find it difficult to accept it as "Origami".

I can accept 'minor' cutting being referred to as a 'modified form' of
origami known as "Kirikomi" Origami. When paperfolding was emerging in the
Western world the word "origami", was used combining "Ori" (to bend/fold)
with "Kami" (paper). Its a relatively modern Japanese word, paperfolding
being known as Orisue and Orikata before that. But a very descriptive word,
If someone were to see my creative pieces they ( the models) could be
accurately described as 'Folded' 'Paper', but not 'Cut and Folded' paper.
Kirikomi best describes a 'piece' that contains cutting and folding but
doesn't remove any material. Piece's that require removal of material are
definitely moving away from origami toward "other" paper crafts.

In respect to the "Sembazuru Orikata" (there that word again "orikata") the
folding of a thousand cranes, the resulting pieces are given their "form" by
way of folding technique not by way of cutting. This then is a case of
Kirikomi Origami.

Modular:

In Modular Origami the resulting 'parts' are given their form by way of
folding and combined to form geometrical shapes, with the combining being a
form of display for the individual parts.

Pre cutting:

In all paper crafts there is a  starting point where the material is refined
into a  shape. Even square paper has to be cut, but is one of the easiest
shapes to produce. Most of us just buy the stuff already made!. So shapes
like triangles , pentagons etc. are all acceptable. But beyond that is the
difference between "Origami" and other paper crafts.

James Sakoda has made a reference to the work of Masahiro Chatani. When I
see the work of Chatani I marvel at the result, but I can't help noticing
that the cutting is the "major" technique involved. Some of these works can
correctly be called Kirikomi Origami but others have moved more towards
paper sculpture.(I refer to some of the Pop Ups with silhouettes of
animals). But none of the pieces can accurately be called "origami", folded
paper pure and simple.

In respect to shapes other than the square I believe Yoshizawa has an
interesting view point.

The following is from Peter Engels interview with Yoshizawa :

>
>I asked Yoshizawa why he allowed himself to fold with pieces of paper that
are >not square, since some of the models in his books use equilateral
triangles, >right triangles, pentagons and hexagons.
>
> "It doesn't have to be square," he explained, "So long as the corners
point >out, not in, as in a star shape, A star is unacceptable because to
make it from >a square sheet of paper you have to cut it and fold in the
edges. If I started >to use that shape, *there would be no borderline
between folding paper and >cutting it, and I could use endless shapes*." But
I will use an unusual shape, >like a triangle, only if I can make a good
structure from it.
>

I feel Jerry's definitions above casts a fairly wide net over what
constitutes origami. I also believe any definition of origami should come
from an internal frame of reference, that is amongst the practitioners of
the art/science and not be high jacked :-)  by others simply because they
contain minor element of folding.
I'm thinking of  packaging , paper sculpture, pop ups and multi piece pop
ups. Which are all great in there "own" right and can stand on their own.

My preferred method of origami is one piece, square, uncut coloured one
side, white the other, of any dimension. But I do accept other forms as
well. I often fold from paper coloured both sides and enjoy modular folding
too.  I also enjoy combining origami models to form a scene. When I first
started origami I loved to fold the compound models from Honda's "World of
Origami" but haven't folded compound origami for some years.

Steven Casey

scasey@enternet.com.au
Melbourne Australia





Date: Thu, 12 Dec 1996 10:40:38 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: non-convex paper

Jeannine Mosley recently started a discussion about the shapes of paper with
which it is "OK" to start an origami model.  Joseph Wu, Steve Casey, and
others, have pointed out that non-convex (concave?) shapes are hard to
distinguish from "cutting" which has lost esteem in much of the origami
community today.

I must admit I find such distinctions a bit hard to discern.  Paper, as a
substance, has no specfic "shape" other than being substantially thin, and
even that is pushing the definition of shape from 2-D to 3-D.  One must
either "CUT" it to an initial shape for folding, or, create/form the paper
in the desired initial shape.  To form paper with a definite edge requires a
mold and deckle (or similiar technique) which is a boundary between which
materials will be part of the piece of paper and which will not... a
division, or, if you will, a cut, between the two groups.

As a result, I find it hard to accept convex shapes as OK but not concave
ones.  The arguments for a "regular" polygon is more interesting, since I find
no reason to prefer the shape and symmetry of a square over that of other
shapes.  Nature uses many different forms of symmetry, so there is no
"natural" preference for a square, only an artificially induced one. ;-)
Actually, I find the equilateral triangle the purest form to start from
because it is the regular polygon with the smallest number of sides. ;-)

So, to continue as Devil's Advocate for a bit... To those who have said that
convex shapes are ok, are you really talking about regular polygons, or is any
convex shape acceptable.  For example, I have seen a number of models (and of
course I can't recall where at the moment) that start with a diamond made by
starting from a square, forming a fish base, the cutting out the central
diamond.  Is this an OK shape to start with?  James Sakoda has been playing
with asymetric bird bases and other irregular polygons for a while now (and I
wish I could find more of his stuff on that in print - HINT HINT).  Personally
I think that is cool.

To take it to an extreme, the clearest, most pure, form of folding would be
of a line.  To make concessions to practicality, it would have to a line
segment made from a material that could take and hold a crease well.  The
purity comes from the medium being the absolutely minimal structure that can
be folded.  Closed string folding is a special case of a two sided polygon.
;-)  Since a single segment is even simpler and can still evidence a fold, it
must be the purest and highest form to start from. ;-)

-Doug "Advocate for Socratic Clarity, often confused with other things, and
one who likes to ripoff Tom Hull's clever middle name technique!" Philips





Date: Thu, 12 Dec 1996 14:26:55 -0400 (AST)
From: Tim Heil <teach@ezl.com>
Subject: Re: Reverse Folds

        Dr. Sakoda wrote:
> If necessary make each of these three creases
>separately before pushing the folded edge inside for the inside reverse
>fold or flipping them out over the folded edge for the outside reverse
>fold.  Hope this helps.  James M. Sakoda, author of Modern Origami.

        I was only having problems with reverse folds when many plies of
paper were involved.  This may be the aqpproach I should take.

        Dr. Sakoda also wrote:
        >In addition to writing a new Preface, I am
>now concentrating on the perfection of my SST, winner of the origami design
>prize at the first international paper airplane contest.  I have deveoped a
>lock for the nose, but now find after experimentation that it is better if
>some gap is left is left in the channel between the two wings.  Opening the
>gap seems to provide some lift, and I am wondering whether or not the
>Bernouli principle applied to airplane wings is coming into play.

        I, for one, would be very interested in the result of your
perfection of this design.  Would you be kind enough to provide this list
with a diagram of the results.  Or maybe you have a paper airplane book in
the works. too?  I count the Great International Paper Airplane Book amongst
my most prized books.

        Speaking of GIPAB, Fig. 18 in that book shows a picture of Dr.
Sakoda.  Immediately to the left of Dr. Sakoda's head is a flying
crane/heron and two models further to the left is a standing crane/heron.
Have you published diagrams of these models?  I only have access to "Modern
Origami" through a local library but I don't remember these from that book.
I'm a fisherman as well as a paper-folder and think that these two models
capture "the essence" of the wading birds that I see along the shores very,
very well.  The very thin beaks and legs, in particular, seem to reinforce
that impression.

        Thanks much for your help. Looking forward to the reprint of "Modern
Origami"
----------------------------------------------------------------
|| Tim Heil                ||     I wouldn't have seen it     ||
|| (teach@ezl.com)         ||     if I hadn't believed it.    ||





Date: Thu, 12 Dec 1996 15:01:42 -0400 (AST)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Norminton

Doug Philips <dwp+@transarc.com> sez

>Ted Norminton has an excellent Daffodil model

Ted was a prolific creator in the 80's. His designs invariably appealed
sequence somewhere; a special move that was unexpected and delightful.
He also created the "Norminton lock" to hold his seagull's wings
together - it has many other applications. I'll attempt an explanation.

fold a kite base
precrease a pleat as if you were making a beak.
sink one half of pleat, simply pleat the other half.
now fold in half - you find that the reversed half has a pocket into
which you can tuck the pleated paper.

Try it & see - sorry if this isn't too clear.

Ted also created a superb Santa/Nun (depending on the paper colour!).
There is a BOS booklet of his work in preparation - I can thoroughly
recommend it. Despite a disability, Ted is currently travelling round
England on a canal barge with his wife Norma Norminton(!)

all the best,

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
