




Date: Tue, 17 Dec 1996 14:51:28 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: Re: origami sighting in outer-space!

I recently checked out of the Philadelphia Free Library something called
"Flying Origami-Origami from pure fun to true science" by Eiji Nakamura.  I
haven't looked closely at it yet, but I'm sure it's the same book.  I recall
someone on the list bringing up a flying nun (this peaked my curiousity).
The book is published by Japan Publications, 1972 and distributed through
Harper & Row.  The call number is 736.982 N145f (are these call numbers
universal throughout USA libraries?)

Write me at rstevens@philly.infi.net if you want any more details on what's
in the book.

Rita
Philadelphia, PA

At 07:02 PM 12/16/96 -0400, Douglas Zander wrote:
>                   Origami in Outer Space!
>
>Hello all,
>  I was watching Educational Television from NASA (America's National
>Aeronautics and Space Administration) and they were showing how various
>toys behave in space on the Space Shuttle.  Among the toys they had
>were Slinky, basket ball and hoop, wind-up fish, Klaker Balls, magnetic
>balls, gravitrons, and a flying bird.  One of the toys was an origami
>maple seed!  I think it came from _Flying Origami_ ???  (can someone
>help me here)  When the astronaut threw the seed from the thick end
>it flew in a straight line and slowly rotated just like a helicopter.
>He threw it straight at the camera and when it hit the camera I could
>see that it was a folded piece of paper.  Origami in Space!
>
>--
> Douglas Zander                | many things interest me, too many to list
> dzander@solaria.sol.net       | here.  if you want a profile :-)  why not
> Milwaukee, Wisconsin, USA     | send me a letter?  tell me about yourself,
> "Over-looking Lake Michigan." | I'll tell you about myself.





Date: Tue, 17 Dec 1996 15:16:17 -0400 (AST)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Re: origami sighting in outer-space!

Pat Slider <slider@stonecutter.com> sez

>Maybe this is the model from Nick Robinson's "Paper Airplanes"? (Now that
>would be a certain claim to fame, Nick!)

Sadly not. The two I know of are by Stephen Weiss and John Smith, but
there are bound to be others. I still haven't seen one that captures the
grace of the real thing, but I suppose that's to be expected - you can't
beat nature....

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





Date: Tue, 17 Dec 1996 15:40:40 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: Re: origami sighting in outer-space!

I am now second guessing what exactly I checked out of the library.  I was
referring to a list of books that the library has a record of and the
"Flying Origami" title was one I had circled.  Stephen Weiss' "Wings and
Things -  Origami That Flies." sounds familiar to me as well, and I know I
saw the nun in the book I checked out.  (I'm at work so the library list is
the only thing at hand I could reference).  I'll clear this up this evening
and repost tmorrow.  Sorry for the confusion.
Rita.

At 02:51 PM 12/17/96 -0400, rita wrote:
>I recently checked out of the Philadelphia Free Library something called
>"Flying Origami-Origami from pure fun to true science" by Eiji Nakamura.  I
>haven't looked closely at it yet, but I'm sure it's the same book.  I recall
>someone on the list bringing up a flying nun (this peaked my curiousity).
>The book is published by Japan Publications, 1972 and distributed through
>Harper & Row.  The call number is 736.982 N145f (are these call numbers
>universal throughout USA libraries?)
>
>Write me at rstevens@philly.infi.net if you want any more details on what's
>in the book.
>
>Rita
>Philadelphia, PA
>
>
>
>At 07:02 PM 12/16/96 -0400, Douglas Zander wrote:
>>                   Origami in Outer Space!
>>
>>Hello all,
>>  I was watching Educational Television from NASA (America's National
>>Aeronautics and Space Administration) and they were showing how various
>>toys behave in space on the Space Shuttle.  Among the toys they had
>>were Slinky, basket ball and hoop, wind-up fish, Klaker Balls, magnetic
>>balls, gravitrons, and a flying bird.  One of the toys was an origami
>>maple seed!  I think it came from _Flying Origami_ ???  (can someone
>>help me here)  When the astronaut threw the seed from the thick end
>>it flew in a straight line and slowly rotated just like a helicopter.
>>He threw it straight at the camera and when it hit the camera I could
>>see that it was a folded piece of paper.  Origami in Space!
>>
>>--
>> Douglas Zander                | many things interest me, too many to list
>> dzander@solaria.sol.net       | here.  if you want a profile :-)  why not
>> Milwaukee, Wisconsin, USA     | send me a letter?  tell me about yourself,
>> "Over-looking Lake Michigan." | I'll tell you about myself.





Date: Tue, 17 Dec 1996 15:48:54 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: many thanks on the rose

I'd like to express my sincere gratitude to all of the individuals who
responded to my rose inquiries.  I'd especially like to thank Yan Lau who
not only offered suggestions, but met with me and showed me a few of the
tricky steps.  He even gave me a couple of roses to unfold when I got stuck.
I finally managed to fold a rose the first time after meeting with Yan (and
unfolding one of his models).  It wasn't perfect but I think after a few
trial runs it'll look good.

Thanks again.
Rita





Date: Tue, 17 Dec 1996 15:52:13 -0400 (AST)
From: halgall@netverk.com.ar
Subject: Boats & Ships

Hi all,

One person of the group Amigos del Origami like very much to fold
ships, boat, rowboat, and he answer me if I know about books of this
theme. But I do not know the name of any book. Please, if any of you
know the name of books send me mail privately.

Thank in advance.

Patricia Gallo
halgall@netverk.com.ar





Date: Tue, 17 Dec 1996 15:52:25 -0400 (AST)
From: halgall@netverk.com.ar
Subject: Nativity

To all the members of the list origami-l

Happy Christmas!!!
The best to all for the new year.

Patricia Gallo





Date: Tue, 17 Dec 1996 18:41:29 -0400 (AST)
From: "Ole A. Nielsen" <nielseno@post.queensu.ca>
Subject: Brill's book: reply

>So, if anyone can recommend other books that carries Dave Brill's life-like
>spirit combined with a high level of expertise, please do so!
>
>--Daniel Chow
>

You're right about David Brill's book: I just love the lion cub!! (Also --
the faery makes a great Christmas-tree topper - just fold it out of metallic
foil or other).

The only other book that I find to be at that level (both likeness to nature
and "expertise" is PETER ENGEL'S FOLDING THE UNIVERSE: Origami from
Angelfish to Zen. This contains: some fish, octop;us, squid, penguin, knight
on horseback, butterfly, rattle snake, kangaroo, hummingbird, reindeer,
tiger, alligator (or is it a crocodile?!?) and others. This is THE book to
have - the introduction, consisting of 1/3 of the long book - is much more
exciting than any other book.

Janet Nielsen
nielseno@post.queensu.ca





Date: Tue, 17 Dec 1996 19:25:39 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Dave Brill's book

At 05:52 AM 12/17/96 -0400, Steve Woodmansee <stevew@empnet.com> wrote:

>Don't worry, no flames from me.  Dave Brill's book is definitely a
>must-have, and the models are stunning.  However I don't believe Brill's is
>the only style to produce lifelike models that don't look 'cubist' and
angular.
>

A good part of the lifelike effect comes from Brill's folding technique.
The folds are at angles to one another, but he did say in the book that he
tries to avoid commonplace angles, such as the ones found in the bird base.

>Check out Robert J. Lang's Insect models (Origami Insects and their kin), or
>John Montroll's models (North American Animals in Origami, Origami for the
>Enthusiast, Prehistoric Origami, and quite a few more), to name a few.

I would say most models out there are not *cubist.* The only cubist exablpe
I can think of is James Sakoda's *Modern Origami* (perhaps this was the
reason he chose such a title). With expert folding technique, a lot of the
inheint angularity found in most models can be made softer.

>If you check the archives, sometime in the last six month (if memory serves)
>there was a discussion of western versus Japanese origami styles.  Western
>styles are thought to be more oriented towards realistic attributes of the
>model; Japanese styles are often simpler, concentrating more on a minimalist
>representation of the model.

I have always thought the opposite. It does seem to be true that much of
the complexity in origami fist took root in the West. However, I have
always found the Japanese styling to be much more ornate than the things
found in the west. Much of the work seems to take shape from having exposed
folded edges that create interesting lines for the eye to follow. Much of
the complex work from the West seems to be much more seemless (albeit just
as complex). I know these are generalizations, but I have found few
exceptions to this.

Marc





Date: Tue, 17 Dec 1996 20:07:10 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: [NO] Web Page graphics

On Tue, 17 Dec 1996, Steve Woodmansee wrote:

=Special thanks to Eric Andersen, Robby/Laura/Lisa, Nick Robinson, Bob
=Nienhuis, Sy Chen, Derek Stottlemyer and all others who responded to my
=earlier request for help with importing graphics to my web page.  All of
=your suggestions worked!  Since this is going to the entire list, thought I
=would share my final findings:
=1.      You *can* develop web page graphics in PowerPoint.  They must be
=saved as .WMF files (Windows Metafile).

You can develop web page graphics in almost any application that can write out
a file in raster format (i.e. a collection of pixels).

=2.      PaintShop Pro is necessary to convert the graphics to .GIF format.
=3.      LView is necessary to change the background color to white (in my
=case), then save in GIF89a format in order to treat white as invisible.

Step 3 is *NOT* necessary. When you save a file as GIF using PaintShop Pro,
click on the "Options" button in the "Save" (or "Save As") window. It will
give you choices for setting transparency.

          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: Tue, 17 Dec 1996 20:32:39 -0400 (AST)
From: Daniel Chow <dchow@wente.llnl.gov>
Subject: Re: Dave Brill's 3-D models

On Tue, 17 Dec 1996, Contractors Exchange wrote:

> A good part of the lifelike effect comes from Brill's folding technique.
> The folds are at angles to one another, but he did say in the book that he
> tries to avoid commonplace angles, such as the ones found in the bird base.

Furthermore, many of Brill's models, once folded, cannot be flattened.
They take on a 3-D quality that allows them to be viewed at any angle.

The perfect example his elephant.  It does not look like an elephant
just *only* from the side... but you can look it in the face (or rear
end, if you prefer) and still see it as an elephant.

Once finished, this elephant is three dimensional.  You cannot just
flatten it and and use it as a bookmark or something (like where most
of my models end up).  It commands a place to stand on your mantle
where it can be showed off!

It is this quality that I am looking for in origami books.

Any suggestions?

===========================================================================
Daniel Chow
Lawrence Livermore Nat'l Lab      "Manuals come out when after all
L-401, Bldg 2175, Rm 102                      possible keystrokes fail."
Tel (510)422-4525





Date: Tue, 17 Dec 1996 21:00:52 -0400 (AST)
From: John Marcolina <jmarcoli@cisco.com>
Subject: Re: Dave Brill's 3-D models

At 08:32 PM 12/17/96 -0400, Daniel Chow wrote:
>
>> A good part of the lifelike effect comes from Brill's folding technique.
>> (snip)
>The perfect example his elephant.  It does not look like an elephant
>just *only* from the side... but you can look it in the face (or rear
>end, if you prefer) and still see it as an elephant.
>
>It is this quality that I am looking for in origami books.
>
>Any suggestions?
>
If you like 3D lifelike animals, I strongly suggest you check out "Origami
Fantasy" by Fumiaki Kawahata. It pretty much *only* contains 3D models, most
of them dinosaurs, all of them complex. And if you like wet-folding, it's
not even a question; ya gotta have it! Unfortunately it's a little pricey
(about $60), but it's hardback, and it has some of the best diagrams I've
ever seen.

I ordered mine from Sasuga bookstore (they're on the web). It might also be
available through OUSA?

John Marcolina
San Jose, CA.
jmarcoli@cisco.com





Date: Tue, 17 Dec 1996 21:46:30 -0400 (AST)
From: Greg Cymbalist <ae565@freenet.toronto.on.ca>
Subject: Re: Dave Brill's 3-D models

> If you like 3D lifelike animals, I strongly suggest you check out "Origami
> Fantasy" by Fumiaki Kawahata. It pretty much *only* contains 3D models, most
> of them dinosaurs, all of them complex. And if you like wet-folding, it's
> not even a question; ya gotta have it! Unfortunately it's a little pricey
> (about $60), but it's hardback, and it has some of the best diagrams I've
> ever seen.
>
> I ordered mine from Sasuga bookstore (they're on the web). It might also be
> available through OUSA?

I really have to suggest this marvelous book also. In particular I love
the "Pegasus" model.  It takes a while (2 hours) but it is a lot of fun
to make and even if you dont' do a perfect job it still looks just
gorgeous.  One of my very favorite models. :)The book text is in Japanese
but personally I did not find this to be a hindrance at all.

|    Greg Cymbalist                                              |
| ae565@freenet.toronto.on.ca                                             |





Date: Tue, 17 Dec 1996 22:30:08 -0400 (AST)
From: Pat Slider <slider@stonecutter.com>
Subject: Re: Origami Fantasy (was David Brill)

>The book text is in Japanese
>but personally I did not find this to be a hindrance at all.
>
OK then....I need a hint on step 84 of the Allosaurus :->. I started one of
these friendly fellows a couple weeks ago, everything was going great, and
then I stalled out at that step. And I can't help wondering if there is some
magical explanation in the Japanese accompanying that diagram. I can tell
I'm doing multiple toes (claws?), but somehow I just don't see how to do the
fold.

pat slider
slider@stonecutter.com





Date: Tue, 17 Dec 1996 23:56:54 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: Re: a few questions

Paul Jackson uses bends, rolls, & curved paper
rather than sharp creases fairly often in his
models, probably because he does many(most?)
other forms of paper art.

There is a delightful little chicken of his in
one of the books that uses a round bend for the
back and it is crimped across the roll to make
the head in an ingeneous way.

Jackson says that many purists
consider that illegal or cheating. Personally
I don't have any problem with it. After all,
the Kawasaki Roses are best when the petals are
curved and the creases rounded. Also, traditional
Japanese flower folds such as the Iris roll/curl
the petals. And many advanced models of animals
use rounding and shaping of curves in the finish.

Valerie Vann
75070.304@compuserve.com





Date: Wed, 18 Dec 1996 00:30:44 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: [N really O] Origami on the Web Revisited

Well, I'm finally doing some (much overdue) updating of my web pages. And, in
my search for new sites, I've come across some gems and some real doorknobs.

Places to see:

Bob Dole's Origami Page (no URL): Well, can't see this any more, but it was
funny while it was up there! Obviously a joke/spoof, this page showed how Bob
Dole liked to make simple origami figures to cheer himself up.

Fudebakudo - Origami (http://www.beholder.co.uk/origami.html): A very funny
origami cartoon!

Origamic Architecture and Traditional Origami
(http://www.databoxbbs.com/ablau/orport.htm): A place for all those Chatani
fans out there (in Portugeuse and in English).

Origami Flatware (http://www.dansk.com/origam.htm): It doesn't look like
origami, but here's a cutlery set for the true origami aficionado.

Lame brains:

Kirk Willard's Origami
(http://www.cudenver.edu/~kwillard/origami/origami.html): Can we say thief?
Scans and essays copied right out of Peter Engel's book.

Zhiqi Cai's Origami Page (http://www1.math.luc.edu/~zcai/origami.html): Hmm...
now where could I have possibly seen those photos before?

          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, 18 Dec 1996 00:49:51 -0400 (AST)
From: jtweres@lucent.com
Subject: Re: The Forms of Origami (Part One)

David Lister writes:

> Even Paper Quilling has been brought under the umbrella of Origami, on the
> basis that curved paper is acceptable and quilling (that is making tight
> rolls of narrow ribbons of paper and then arranging the little spirals into
> pictures) is only an extreme kind of curved paper. I begin to start asking
> questions here. Why does every paper craft have to be brought under the
> origami umbrella?

paper quilling = origami
I THINK NOT

origami
as in ORI, as in "to fold",
not quill, sculpt, mash, spindle and/or multilate

>                    When we keep a hold on ourselves, we all know what we mean
> by Origami in the proper sense of the word. There is a perfectly good word,
> "Papercraft" which can be used to encompass all the remoter styles of
> manipulating paper.

cheers to "papercraft"
for all that non-FOLDING manipulating paper stuff !!!

as for cutting,,,
here's an origami book that IMHO gives origami a "bad name"
-- "origami animals" by hector rojas

i didn't realize how much of a "origami purist"
i had become
until seeing this book and nearly model has cutting involved

you should see the basic forms section!!!
the BASIC forms even have cutting involved

"what is this ???" i thought to myself
and origami didn't come clearly and quickly to my mind
-- i would almost rank this in "papercraft"

      #  #    #   ####    #####
      #  #    #  #          #
      #  #    #   ####      #
      #  #    #       #     #
 #    #  #    #  #    #     #
  ####    ####    ####      #

 ######   ####   #       #####
 #       #    #  #       #    #
 #####   #    #  #       #    #
 #       #    #  #       #    #
 #       #    #  #       #    #
 #        ####   ######  #####

    #     #####
    #       #
    #       #
    #       #
    #       #
    #       #   and the rest is left
               for papercraft

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





Date: Wed, 18 Dec 1996 00:59:57 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: The Forms of Origami (Part One)  [Long]

On Tue, 17 Dec 1996 DLister891@aol.com wrote:

=Even Paper Quilling has been brought under the umbrella of Origami, on the
=basis that curved paper is acceptable and quilling (that is making tight
=rolls of narrow ribbons of paper and then arranging the little spirals into
=pictures) is only an extreme kind of curved paper. I begin to start asking
=questions here. Why does every paper craft have to be brought under the
=origami umbrella?  When we keep a hold on ourselves, we all know what we mean
=by Origami in the proper sense of the word. There is a perfectly good word,
="Papercraft" which can be used to encompass all the remoter styles of
=manipulating paper.

An interesting comment (and, IMHO, quilling should *not* be classified as
origami, since it takes a very different approach from folding in general). It
is instructive to note, however, that many Japanese people, particularly
non-folders, automatically translate "origami" as "paper craft" when they want
to render it into English. Perhaps this gives us some insight into the
Japanese mindset when it comes to such matters: there being no sharp division
between paper folding and other paper crafts. Then again, they do seem to
distinguish between folded paper crafts and other types of paper crafts. Maybe
it's just an inability on their part to translate "origami" into English. Not
being Japanese (and not being able to phrase the question properly in
Japanese), I cannot distinguish between the two possibilities.

          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, 18 Dec 1996 01:03:33 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: [NO] Web Page graphics

At 08:07 PM 12/17/96 -0400, Joseph Wu wrote:
>
>Step 3 is *NOT* necessary. When you save a file as GIF using PaintShop Pro,
>click on the "Options" button in the "Save" (or "Save As") window. It will
>give you choices for setting transparency.
>
(Joseph is referring to this section of an earlier post:)

"LView is necessary to change the background color to white (in my case),
then save in GIF89a format in order to treat white as invisible."

I'm sorry but I still disagree.  Although the options mentioned are present,
they did not work for me.  Sending experimental graphics through both
PaintShop and LView, only the graphics sent through LView came through with
transparent backgrounds.

It would be great if I could find a way to make PaintShop work, since LView
does not import .WMF graphics.  I followed explicit instructions offered by
Nick Robinson on how to save in the GIF89A format, but no go.  Is it
possible that this option is disabled on my evaluation copy?

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





Date: Wed, 18 Dec 1996 01:17:27 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: The Forms of Origami (Part One)

On Wed, 18 Dec 1996 jtweres@lucent.com wrote:

=cheers to "papercraft"
=for all that non-FOLDING manipulating paper stuff !!!

Well, papercraft is really a broader term than origami, and conceivably
encompasses origami.

=as for cutting,,,
=here's an origami book that IMHO gives origami a "bad name"
=-- "origami animals" by hector rojas
=i didn't realize how much of a "origami purist"
=i had become
=until seeing this book and nearly model has cutting involved
=you should see the basic forms section!!!
=the BASIC forms even have cutting involved
="what is this ???" i thought to myself
=and origami didn't come clearly and quickly to my mind
=-- i would almost rank this in "papercraft"

I agree that the Rojas book is rather pathetic. Not only does he resort to
cutting, but also to painting his models. If an origami piece is not
identifiable by its form (and perhaps from having the back and front colours
of the paper), then it does not deserve to be called an origami model of
whatever it's supposed to be. I would not, however, use the word "papercraft"
as a curse, though. I'd rather call his work "poor/bad origami".

          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, 18 Dec 1996 01:21:04 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: [NO] Web Page graphics

On Wed, 18 Dec 1996, Steve Woodmansee wrote:

=At 08:07 PM 12/17/96 -0400, Joseph Wu wrote:
=>Step 3 is *NOT* necessary. When you save a file as GIF using PaintShop Pro,
=>click on the "Options" button in the "Save" (or "Save As") window. It will
=>give you choices for setting transparency.
=(Joseph is referring to this section of an earlier post:)
="LView is necessary to change the background color to white (in my case),
=then save in GIF89a format in order to treat white as invisible."
=
=I'm sorry but I still disagree.  Although the options mentioned are present,
=they did not work for me.  Sending experimental graphics through both
=PaintShop and LView, only the graphics sent through LView came through with
=transparent backgrounds.
=
=It would be great if I could find a way to make PaintShop work, since LView
=does not import .WMF graphics.  I followed explicit instructions offered by
=Nick Robinson on how to save in the GIF89A format, but no go.  Is it
=possible that this option is disabled on my evaluation copy?

What version are you using? I've got PaintShop Pro Shareware 3.12 - 32 bit. It
works just fine for saving transparent GIF89A images. Make sure you've
selected the appropriate GIF subformat (89A instead of 87A), and that you've
got the right transparency option selected for the image you are using. Note
that the program allows you to sort your palette in various ways so using a
specific palette entry number may not work properly. One way around this is to
save the image non-transparent first, and then loading it again. Figure out
which palette entry contains your background colour, and then set the
transparency option to use that particular palette entry for the transparent
colour. Presto!

          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, 18 Dec 1996 01:37:21 -0400 (AST)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: The Forms of Origami (Part One)

>I'd rather call his work "poor/bad origami".

Joseph, you ought to be ashamed of yourself for not availing yourself of
the blatantly obvious opportunity to make a pun and define it as
"poorigami!"  ;-D

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, 18 Dec 1996 01:49:48 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: The Forms of Origami (Part One)

On Wed, 18 Dec 1996, Jerry D. Harris wrote:

=>I'd rather call his work "poor/bad origami".
=Joseph, you ought to be ashamed of yourself for not availing yourself of
=the blatantly obvious opportunity to make a pun and define it as
="poorigami!"  ;-D

Actually, in that vein, there was a book of Halloween-related models that I
found to be as bad/worse than Rojas's book. It's title would work well as an
epithet: Horrigami. 8)

(You're right, though. I usually kill people with (or make them wish to kill
me because of) my bad puns.)

          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, 18 Dec 1996 02:20:53 -0400 (AST)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: [NO] Web Page graphics

Steve,

At 09.21 17/12/1996 -0400, you wrote:

>3.      LView is necessary to change the background color to white (in my
>case), then save in GIF89a format in order to treat white as invisible.

Actually you CAN do the same with the _latest_ version of PaintShop Pro (v
3.11). There are other simple programs to convert normal GIF's to
transparent-background GIF's. The best thing to do is to have a look at Adam
Bernstein's webpage mentioned by Bob Nienhuis, the new URL is :

        http://www.best.com/~adamB/GIFpage.html

There are plenty of links about this and many other similar problems.

Roberto





Date: Wed, 18 Dec 1996 02:36:34 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: [NO] Web Page graphics

At 01:21 AM 12/18/96 -0400, you wrote:

>What version are you using? I've got PaintShop Pro Shareware 3.12 - 32 bit.
4.1, but it's an evaluation copy.

>It works just fine for saving transparent GIF89A images. Make sure you've
>selected the appropriate GIF subformat (89A instead of 87A),

Got that part right...

>and that you've
>got the right transparency option selected for the image you are using. Note
>that the program allows you to sort your palette in various ways so using a
>specific palette entry number may not work properly. One way around this is to
>save the image non-transparent first, and then loading it again. Figure out
>which palette entry contains your background colour, and then set the
>transparency option to use that particular palette entry for the transparent
>colour. Presto!
>
I'll try this, thanks.

P.S. Sorry to send this to the entire list, can't find Joseph's e-mail
address at the moment.

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





Date: Wed, 18 Dec 1996 02:43:14 -0400 (AST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: [NO] Web Page graphics

At 02:21 AM 12/18/96 -0400, Roberto wrote:
>3.11). There are other simple programs to convert normal GIF's to
>transparent-background GIF's. The best thing to do is to have a look at Adam
>Bernstein's webpage mentioned by Bob Nienhuis, the new URL is :
>
>        http://www.best.com/~adamB/GIFpage.html
>
This URL gives the following message:

        404 Not Found

Url '/~adamB/GIFpage.html' not found on server

Any suggestions?

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





Date: Wed, 18 Dec 1996 05:05:52 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: [NO] Web Page graphics (fwd)

=At 02:21 AM 12/18/96 -0400, Roberto wrote:
=>3.11). There are other simple programs to convert normal GIF's to
=>transparent-background GIF's. The best thing to do is to have a look at Adam
=>Bernstein's webpage mentioned by Bob Nienhuis, the new URL is :
=>
=>        http://www.best.com/~adamB/GIFpage.html
=>
=This URL gives the following message:
=
=        404 Not Found
=
=Url '/~adamB/GIFpage.html' not found on server
=
=Any suggestions?

Yes. Change the capital "B" in "adamB" to a lowercase "b" (i.e. "adamb"). It
will work just fine.

          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, 18 Dec 1996 05:13:03 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: The Forms of Origami (Part One)  [Long]

On Wed, 18 Dec 1996, Joseph Wu wrote:

=It is instructive to note, however, that many Japanese people, particularly
=non-folders, automatically translate "origami" as "paper craft" when they want
=to render it into English. Perhaps this gives us some insight into the
=Japanese mindset when it comes to such matters: there being no sharp division
=between paper folding and other paper crafts. Then again, they do seem to
=distinguish between folded paper crafts and other types of paper crafts. Maybe
=it's just an inability on their part to translate "origami" into English. Not
=being Japanese (and not being able to phrase the question properly in
=Japanese), I cannot distinguish between the two possibilities.

It's kinda funny to quote myself, but I've got some more info on this topic.
After talking to one of my co-workers (who, incidentally, lurks on this list),
I've come to understand the Japanese use of "papercraft" better.
Contrary to Western thinking, "papercraft" is (usually) held in higher esteem
in Japan than origami. This is related to the old "I did that when I was a
kid" attitude that also exists in the West. Everyone in Japan learns at least
one origami figure in their childhood, but most do not pursue it, and so they
consider it just a children's pasttime. Papercraft, on the other hand, (in
Japanese, "kohgei") includes many highly regarded paper art techniques
including the making of washi "paintings" (where coloured pulp is used to make
a single sheet of washi with an image (usually nature) on it), and the highly
elaborate paper dolls (in kimonos, etc.). Thus, when they see origami of the
level that many of us practice, much beyond what most kids do in school, they
do not regard it as "origami" of the type that they are familiar with, and
elevate it to the level of "papercraft" (kohgei).

          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, 18 Dec 1996 05:32:54 -0400 (AST)
From: nienhuis@westworld.com (Bob Nienhuis)
Subject: Re: [NO] Web Page graphics

>At 02:21 AM 12/18/96 -0400, Roberto wrote:
>>3.11). There are other simple programs to convert normal GIF's to
>>transparent-background GIF's. The best thing to do is to have a look at Adam
>>Bernstein's webpage mentioned by Bob Nienhuis, the new URL is :
>>
>>        http://www.best.com/~adamB/GIFpage.html
>>
>This URL gives the following message:
>
>        404 Not Found
>
>Url '/~adamB/GIFpage.html' not found on server
>
>Any suggestions?
>

 use a small b in ~adamb/

eg:
http://www.best.com/~adamb/GIFpage.html

It worked for me.

Bob Nienhuis
nienhuis@westworld.com





Date: Wed, 18 Dec 1996 10:03:25 -0400 (AST)
From: Greg Cymbalist <ae565@freenet.toronto.on.ca>
Subject: Re: Origami Fantasy (was David Brill)

> OK then....I need a hint on step 84 of the Allosaurus :->. I started one of
> these friendly fellows a couple weeks ago, everything was going great, and
> then I stalled out at that step. And I can't help wondering if there is some
> magical explanation in the Japanese accompanying that diagram. I can tell
> I'm doing multiple toes (claws?), but somehow I just don't see how to do the
> fold.

alas, I got the book from a library so I did not have time to try this
model :(

|    Greg Cymbalist                                              |
| ae565@freenet.toronto.on.ca                                             |





Date: Wed, 18 Dec 1996 11:19:03 -0400 (AST)
From: DLister891@aol.com
Subject: The Forms of Origami    Part 2  [Long]

How our Origami Preferences Shape Up.

Faced with the multiplicity of styles and categories of paperfolding, should
we attempt to classify them, or should we lump them all together under the
portmanteau heading of Origami? If so, what are the boundaries of our art?
How do we define it?

It must be remembered that all systems of definition and classification are
man-made. Nature itself does not  place an eagle in the order "Hawks" or a
frog in the class "Amphibians" : both the names, and the classifications are
invented by humans for their own purposes. Sometimes Nature simply mocks
these man-made systems. The same applies to the classification of artefacts
and systems created not by nature, but by humans themselves.. It also extends
to the classification of papercrafts. In fact, the difficulties with human
ideas and creations are even greater than with Nature. Present-day natural
species are fairly fixed, and while they change over the centuries and
millennia, the larger species do not mutate or fluctuate wildly. Human
endeavours, on the contrary can evolve and change rapidly as new ideas are
spread like wildfire. Human preferences and activities, including papercrafts
can be looked at  from many angles. For example, cutting or not cutting;
square paper or other shapes; one piece of paper or many. Only a
multi-dimensional classification system could fully cope with a full
analysis. Would it be worth  it?  Would not a broader empirical  system be
just as adequate for our purpose?

We do have a perception that the heart of paperfolding is the uncut square of
paper. (I do not intend to explore the rationale of the square in Origami
here. There has been some useful consideration of theis in Origami-L in the
past few days and a full discussion of this topic must wait for another
occasion.) Cutting, for instance is just one deviation from uncut folding.
More than one piece of paper is another; other deviations are using different
shapes of paper, or use of foil instead of paper. John Smith has devised a
simple way of distinguishing between the different forms of paperfolding and
yet bringing them together in a way that is easy to understand. I have to say
that this part of my contribution derives entirely from John. I have his
permission to use it here and I hope that I do not misrepresent John's ideas.

John's article appears under the title: "Origami Profiles" in British Origami
No. 58 for June 1976. It also appears on later dates in the Italian and one
or two other  origami magazines.

John's device is a sort of compass rose design, which generates a
characteristic shape or "profile", which can be used  for a variety of
purposes. It may indicate the paperfolding preferences of an individual
folder. Or it can give a profile of the make-up of a particular kind of paper
craft.

The diagram looks very much like a compass, with eight lines radiating from a
centre point. The point at the centre represents the strictest form of
paperfolding, namely, folding from a single  uncut square of plain paper.
 Each of the eight radiating lines represents the relaxing of one particular
constraint. The further one goes out from the centre, the greater the
relaxation of the constraint  The names John gives to his eight radiating
lines are Modelling, Shaping, Slitting (or cutting), Supporting (wire and
glue), Multi-layers, Multi-sheets, Lengthening and Decorating. Perhaps he
could have chosen more lines incorporating other aspects; perhaps the names
could be different. The system is not rigid, but John's choices do create a
workable system.

One line measures the extent to which cutting is permitted. Another line
represents the extent to which shapes other than the square are acceptable.
Other lines relate to different shapes of paper, beginning with an
equilateral triangle and going on through regular stars and polygons to
irregular and ad hoc shapes. Other lines relate to the use of supports, such
as glue or wire or even mechanisation and the addition of colour, of texture
or pattern or painting. Yet other lines indicate the use of more than one
sheet of paper (as Yoshizawa often does and Momotani does in his in some of
his larger pictorial models), the use of multiple layers of paper and the
lengthening of paper, first to rectangles and then to ribbons and eventually
to string figures and macrame. Wet folding and modelling leading up to papier
mache follow another line. Along each line the degree that that particular
restraint is relaxed is marked off.

When the points on each of the eitht lines have ben marked off, a curved line
is drawn connecting the points into the shape like a cloud. The resulting
shape is the Profile of the particular folder's preference, or alternatively,
of the style of papercraft being considered. John uses eigtht lines from the
centre. Others could, no doubt be added to include other kinds of deviation.
There is no reason why the whole of paperrcrafts should not find a place
somewhere in the diagram

In the arts, in crafts and in pastimes, there is no law as to what is right
and what is not right.  Every person can choose to do as he pleases. But the
combined choices of many people will tend to form generalised "nodes" in the
continuous spectrum, because some possibilities are more popular than others.
So, folding from a plain square of uncut paper has its place as one
 identifiable "node" , the possible reason being that may people are
attracted to the severest combination of constraint or the "purest" style of
folding.. Other nodes represent modular folding, cut-and fold origami and
"knot origami" which uses long ribbons of paper. No style in art or
recreation is any more valid than any other.

John's diagram has the merit of making a definition of Origami either
irrelevant or of only secondary importance. It does not exclude any
papercrafts, but it does show their relationship with the core of origami.
John has chosen an uncut square as his centre point. He could have chosen a
circle or a triangle.. He has also placed paperfolding at the centre. Could
some other technique, such as papercutting have been made the standard  Would
this result in a differently faceted view of the profiles?

This  just about summarises my consideration of the meaning of origami, but
there are still a few matters I want to discuss and I will continue in Part
Three.

David Lister,

Grimsby, England

DLister891@ AOL.com





Date: Wed, 18 Dec 1996 12:12:21 -0400 (AST)
From: John Marcolina <jmarcoli@cisco.COM>
Subject: Re: Origami Fantasy (was David Brill)

At 10:30 PM 12/17/96 -0400, Pat Slider wrote:
>
>>The book text is in Japanese
>>but personally I did not find this to be a hindrance at all.
>>
>OK then....I need a hint on step 84 of the Allosaurus :->. I started one of
>these friendly fellows a couple weeks ago, everything was going great, and
>then I stalled out at that step. And I can't help wondering if there is some
>magical explanation in the Japanese accompanying that diagram. I can tell
>I'm doing multiple toes (claws?), but somehow I just don't see how to do the
>fold.
>
Hi Pat,
You know, I've completed all the models in this book, with great results.
*BUT*, I had trouble with those darn Allosaurus feet too! I believe step 84
is simply a reverse fold, but it might be non-symmetric or something. I
recall that if it was done a certain way the two toes wind up inside each
other, which is of course not what you want. It's been awhile since I tried
that model; I eventually did get all the toes formed, but I never did like
the way they looked; it might be that I didn't do it right either. Maybe
you're right and the text holds a key here.

Anyone else? Or does anyone read Japanese? I would gladly FAX diagrams to
anyone who does but doesn't have the book.

John Marcolina
San Jose, CA.
jmarcoli@cisco.com





Date: Wed, 18 Dec 1996 12:41:34 -0400 (AST)
From: DLister891@aol.com
Subject: Re: Japanese for Paperfolding (The Forms of Origami Part 1)

I must thank Joseph Wu for his very  interesting observations on the Japanese
attitude to Origami and other papercrafts.(18th December)

It is worth remembering that "Origami" is a modern word in Japanese for
paperfolding. It appears to have been introduced, (possibly in the Froebel
Kindergartens) about 1880, but did not come into general use until well into
the 20th Century. (The word 'Origami' did exist long before that, but it was
not used for recreational origami.) Before the word "origami" was adopted, a
number of words were used including "Orisue" and "Oriikata". "Orikata" in
particular was a generalised term which could mean "folded shapes", although
it also had other interpretations. In other words, it had a wider meaning
that mere paperfolding, just as the word "kogei" mentioned by Joseph Wu does
today.

Ever since at least the "Sembazuru Orikata" (1797) there have been two
streams of paperfolding in Japan. One stream has been children's folding
which has always been (and still is) very elementary.

The other stream has been advanced adult folding, exemplified by the
Sembazuru Orikata and later by the Kayaragusa (Kan no kado) (c.1850) and
similar folding pursued by Michio Uchiyama's mother. This was remembered bu
Michio's  son Kosho. Kosho's grandmother's paperfolds were lost in a fire,
and later in an air raid, but a soon as Kosho saw a copy of the Kayaragusa
(which was not rediscovered until 196O) he recognised in it some of the folds
of his grandmother.

Modern Japanese folding started with Yoshizawa, who was (like Segovia)
self-taught and he does not appear to have inherited the old "adult"
tradition. Indeed, his folding is very different. Nor does Kosho Uchiyama
inherit the old tradition. despite his having remembered something of his
grandmother's folding. Nevertheless, there is slender evidence that the adult
style may have continued in an attenuated form.

The adult stream never seems to have earned respect or the status of an art
form in Japan. Consequently, Origami (Call it what you will) was always
considered to be a children's pastime until Yoshizawa was discovered about
1950 and the new adult origami came to be recognised, not only in the West,
but in Japan too. I doubt if, even today, paperfolding is regarded as an art
by cultured Japanese connoisseurs of the arts.

I hope that Japanese historians will be able to throw more light on these
conjectures. Joseph Wu's posting certqinly seems to throw light on the two
treams of Japanese folding.

David Lister

Grimsby, England.

DLister891@AOL.com





Date: Wed, 18 Dec 1996 14:08:26 -0400 (AST)
From: trioux@whoi.edu (trioux)
Subject: Dave Brill's Book

          Daniel Chow wrote:
          >So, if anyone can recommend other books that carries Dave
          >Brill's life-like spirit combined with a high level of
          >expertise, please do so!

          Other folks answered:

          >Check out Robert J. Lang's Insect models (Origami Insects
          >and their kin), or John Montroll's models (North American

          and

          >The only other book that I find to be at that level (both
          >likeness to nature and "expertise" is PETER ENGEL'S FOLDING
          >THE UNIVERSE: Origami from Angelfish to Zen.

          I own and treasure Brill's, Engel's, Lang's, and Montroll's
          books, but models don't necessarily have to be complex and
          difficult to be elegantly life-like.  Last Saturday my wife
          and I went to see the Japanese art exhibit at the Sasuga
          store in Cambridge, MA.  My eyes became riveted to what
          looked like a Victorian framed butterfly collection.  They
          were absolutely wonderful origami models by Michael LaFosse.
          Poking around a bit more, we found LaFosse's videos and
          bought one.... the family hasn't been able to watch TV for
          days, now, because I've been hogging the vcr!  Thanks to the
          'pause' and 'reverse' features of the vcr I've been able to
          fold a couple of dozen really nice butterflies even with my
          low intermediate skills.  LaFosse's web site is located at
          http://www.origamido.com These models don't have the complex
          legs and antennae like Engel's, but I think that with a
          creature like a butterfly sometimes such details can detract
          a little bit from the beauty of the model.

          Terry Rioux
          trioux@whoi.edu





Date: Wed, 18 Dec 1996 17:19:23 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: Re: origami sighting in outer-space!

The book I checked out of the library *was* "Wings & Things" by Stephen
Weiss.  The maple seed diagram is in this book.  Sorry for the earlier
confusion.

Rita
Philadelphia, PA

At 07:02 PM 12/16/96 -0400, Douglas Zander wrote:
>                   Origami in Outer Space!
>
>Hello all,
>  I was watching Educational Television from NASA (America's National
>Aeronautics and Space Administration) and they were showing how various
>toys behave in space on the Space Shuttle.  Among the toys they had
>were Slinky, basket ball and hoop, wind-up fish, Klaker Balls, magnetic
>balls, gravitrons, and a flying bird.  One of the toys was an origami
>maple seed!  I think it came from _Flying Origami_ ???  (can someone
>help me here)  When the astronaut threw the seed from the thick end
>it flew in a straight line and slowly rotated just like a helicopter.
>He threw it straight at the camera and when it hit the camera I could
>see that it was a folded piece of paper.  Origami in Space!
>
>--
> Douglas Zander                | many things interest me, too many to list
> dzander@solaria.sol.net       | here.  if you want a profile :-)  why not
> Milwaukee, Wisconsin, USA     | send me a letter?  tell me about yourself,
> "Over-looking Lake Michigan." | I'll tell you about myself.





Date: Wed, 18 Dec 1996 18:04:56 -0400 (AST)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Re: [NO] Web Page graphics

Steve Woodmansee <stevew@empnet.com> sez

>2.      PaintShop Pro is necessary to convert the graphics to .GIF format.
>3.      LView is necessary to change the background color to white (in my

You must have mis-read my mail - PSP will do the lot. Honest!

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





Date: Wed, 18 Dec 1996 18:42:53 -0400 (AST)
From: Nick Robinson <nick@homelink.demon.co.uk>
Subject: Re: Dave Brill's book

Daniel Chow <dchow@wente.llnl.gov> sez

>I am looking for comments and responses regarding Dave Brill's book
>"Brilliant Origami".

What can I say? The life's work of one of the world great creative
talents. Hand drawn at painstaking length & clarity, plus he's one of
the nicest blokes you could share a pint with.

>Perhaps this has been discussed to death, but I've never found "cubistic"
>origami to be fascinating.  Kasahara loves to emphasize the purity of
>simplicity.

Dave is a big Kasdahara fan (like most intelligent folders ;)

>But personally, making an animal that looks like nothing more than a
>triangle with feet just doesn't do anything for me.

"triangle with feet" - a fascinating image, but not sure what you mean.
If you mean a simple design that doesn't worry about anatomical
accuracy, well there's surely room for a few of those in our origami
bestiary?

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





Date: Wed, 18 Dec 1996 20:01:56 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Origami Fantasy (was David Brill)

On Wed, 18 Dec 1996, Greg Cymbalist wrote:

=> OK then....I need a hint on step 84 of the Allosaurus :->. I started one of
=> these friendly fellows a couple weeks ago, everything was going great, and
=> then I stalled out at that step. And I can't help wondering if there is some
=> magical explanation in the Japanese accompanying that diagram. I can tell
=> I'm doing multiple toes (claws?), but somehow I just don't see how to do the
=> fold.
=
=alas, I got the book from a library so I did not have time to try this
=model :(

The text says something to the effect of "form the first two toes using inside
reverse folds". There a little more than that, but I can't read it. In any
event, simply doing inside reverse folds will do the trick.

          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, 18 Dec 1996 20:08:40 -0400 (AST)
From: Steven Casey <scasey@enternet.com.au>
Subject: Re: Step 84 - Origami Fantasy

>>OK then....I need a hint on step 84 of the Allosaurus :->. I started one of

>Hi Pat,
>You know, I've completed all the models in this book, with great results.
>*BUT*, I had trouble with those darn Allosaurus feet too! I believe step 84
>is simply a reverse fold, but it might be non-symmetric or something.

Hi there,

I've just tried the Allosaurus this morning from a 4" square which is a
little tricky, however here is the answer..

Firstly a few comments step 42 to 44 is an example of a good move for
lengthening the arms.

The legs get a bit bulky so accurate folding is a must.

Step 69 There are three "groups" of layers the outside reverse fold wraps
        the two bottom groups under and the top group over.

Step 76 Omits the repeat step 73-75 other side, which could cause problems
        comparing the model to the drawing.

Step 78 Refers to the legs on the under side and shows the steps in 73-75
        completed. (For a novice this could be a problem).

Step 80 Omits the point formed in step 69, probably for clarity.

Step 81 Includes the point (The magic point)

        The reverse fold forces the point formed in steps 73-75 to be
trapped           between the newly formed right triangle underneath and the
layers on
        top.

Steps 82-83
        Combined are double reverse folds, which form two points. The upper
        point has a concealed point(73-75) inside, the lower point is a single.

Step 84 Reverse folding the upper point reveals the concealed point.
        ie: the point formed in steps 73-75.

Hope this helps.

Steven Casey
scasey@enternet.com.au
Melbourne Australia
