




Date: Sat, 4 Jan 1997 18:36:11 -0400 (AST)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Decorating Origami

At 10:58 AM 1/4/97 -0400, casida@ere.umontreal.ca (Casida Mark) wrote:

>> Colour does not necessarily detract from form; in fact, over the
>> right background, colour will better define a models form. I thought the
>> issue here wasa of picking out atterns annd painting in a model's features.
>
>While I am not sure that this is what he meant, it occurs to me that one
>excellent use of color in origami (especially precolored paper) is to
>contrast different aspects of folded features.  Of course, this raises
>the issue of whether one should want to hide the folds to obtain a clean
>final model or whether it isn't better to let the medium speak by
>emphasizing that the final model consists of layers of folded paper.
>I would think that the latter has at least pedagogical value.
>Well known examples of the use of precolored paper to emphasize
>origamic structure are:
>

If I am trying to get a clean looking model with seamless surfaces (i.e.,
no exposed folded edges), I will design the model that way (which I usually
do). I tend to treat origami as having a pallet of two colours.
Consequently, the colour pattern of a model most be decided on carefully
prior to design. Other folders carefully choose the placement of their
model's folded edges to acheive expression. Either way, the choice of paper
should not conceal the means of highlighting (anyone who folds a chess
board from monochomatic paper is probably missing the point).

>  1) models which use the white and colored sides of the paper

I never thought of this as showing a model's structure. Having a
contrasting colour can be a powerfull effect, and it can eclipse the effect
of any folded edges that were used to define a feature.

>
>  2) use of paper with colored corners to emphasize the origins of
>     heads, tails, wings, or whatever

This seems to be only of acedemic value. I always find a model more
interesting when it is not obvious where the appendages are derived from.
>
>  3) other?

I would say the *other* is the deemphization of a model's features. This
can be accomplished by using patterned paper. This makes fetures that are
formed from a model's folded edges less obvious. I assume the folded edges
in a model are present for artistic value, so I tend to avoid patterned paper.

Incidently, when I was talking about picking colours based on the backround
to be used, this would only highlight a model's outline. Folded edges are
typicaly more visable when using lighter colours (any resulting shadows are
more pronounced).





Date: Sun, 5 Jan 1997 01:55:53 -0400 (AST)
From: Kenny1414@aol.com
Subject: Re: Decorating Origami

At 97-01-04 17:58:56 EST, marckrsh@pipeline.com (Marc Kirschenbaum) replied
to
 casida@ere.umontreal.ca (Casida Mark) 's comment of  10:58 AM 1/4/97 -0400.

Before I add my 2 cents worth, let me say I regret that I have missed the
earlier postings of this thread, and apologize if I am misinterpreting these
last two postings, for lack of context. (For the rambling free-association I
am about to do, I apologize, also.)

Friend Marc, be a little gentler, please. Hopefully I'm being overly
sensitive on this matter. In your enthusiasm, your point-by-point commentary
is coming across to me as a huge rebuttal of Casida's comments, which I'm
sure is not what you meant to do. Altho Casida misunderstood you, s/he
(sorry, I can't tell from the name) has some good points, and should not be
discouraged from discussing them, yes?

Since you are having a discussion, and not an argument, may I now join in?
(Again, forgive me if my comments repeat previous postings I wasn't
privileged to see.)

>>> Colour does not necessarily detract from form; in fact, over the
>>> right background, colour will better define a models form. I thought the
>>> issue here wasa of picking out atterns annd painting in a model's
features.

Without seeing the previous postings, I'd expect Casida is right, this is a
change of subject. And the word "form" is ambiguous. But this was a good
point.

>>> ... picking out atterns

Sometimes I use any paper I have, and when the paper has a pattern, I try to
make use of the pattern. Sometimes the pattern makes use of me.

I once folded a Robert Neale's Dragon from a sheet of Hallmark brand wrapping
paper, with a plaid pattern. Voila, a "Dragoon". The little red square,
formed when two red lines crossed in the pattern, just happened to fall about
where the eye should have been, and on both sides of the head at that.
Serendipity.

 (The Dragon is from the Flapping Bird, Volume 1, Number 5, available from
Magic Inc. in Chicago, I think. Was the company named before or after the
late Robert A. Heinlein's story of the same name?)

 (For those who didn't get my joke, I am under the impression that dragoon is
a scottish word for soldier, and so would be a bad attempt to say dragon with
a scottish accent, and plaids were adopted as clan insignias by the Scots, so
a plaid dragon should be scottish, ... .)

Being upset with the way Fred Rohm's dollar bill Star of David tended to
unfold by itself, I experimented, and got the stresses to equalize better by
"color-changing" the offending parts. Then I color-changed the whole model,
by folding it wrong-side-up, to see if it made a difference which color was
out. Much to my surprise, on one side, the now exposed edges of the bill
formed a nice white-walled triangle. And on the other side, the legal tender
notice ended up right on the bottom bar of the triangle.

>>> ... annd painting in a model's features.

Painting can be a substitute for folding, and make the model less technically
demanding. It can also just be used to enhance the appearance of a model. And
it can be used when the desired pattern or color of paper is not available.

For myself, I don't like it. But then, I never could draw or paint, so this
is an understandable bias.

>>
>>While I am not sure that this is what he meant,

Ok.

>> ... it occurs to me that one
>>excellent use of color in origami (especially precolored paper) is to
>>contrast different aspects of folded features.

Maybe. More often used to either
(a) contrast different features (Which I like. Notice that most origami
purists do not insist on a white-on-both-sides square?), or to
(b) hide undesired aspects, such as creases, edges, multiple surfaces where
you'd rather have had a single continuous surface. (It takes great technical
sophistication to produce an apparently simple outward appearance in a
complex model.)

>> ... Of course, this raises
>>the issue of whether one should want to hide the folds to obtain a clean
>>final model or whether it isn't better to let the medium speak by
>>emphasizing that the final model consists of layers of folded paper.

Yes, it did raise the issue.

In the several versions I've seen of an origami "book" fold, the individual
pages of the book had better stand out.
On the other hand, I once tried to fold a John Montroll Lobster from a 6"
square of foil, with appalling results. At that scale, the layers took over,
and it sort of looked like 'a small crayfish on steroids'. The chest was huge
and out of proportion to the rest of it.

>>I would think that the latter has at least pedagogical value.

Sounds possible.

I like it for the decorative aspect. We can play a game of 'how can we best
make use of this feature?'.

>>Well known examples of the use of precolored paper to emphasize
>>origamic structure are:
>>

I'm not so sure of this. In my limited experience, when both sides/colors of
the paper are used, the origamic structure is being used to emphasize and
take advantage of the color difference, to add features that would otherwise
practically not be there.

The colors tend to de-emphasize the unity of the model, making it less clear
that the model is folded from a single sheet of paper, if it is.

Now, for modular origami, color can be used to demonstrate that the modules
are separate, and emphasize the modularity, and sometimes emphasize the
symmetries of the model.

>
>If I am trying to get a clean looking model with seamless surfaces (i.e.,
>no exposed folded edges),

Being less advanced, my requirements for a clean model start off lower down
the scale:

(a) no raw edges (this is also a safety consideration, since i am prone to
paper cuts);

(b) no extra creases (just being a little fussy);

(c) no unwanted folded edges;

(d) seamless surfaces (try to hide ALL the folded edges).

> ... I will design the model that way (which I usually
>do). I tend to treat origami as having a pallet of two colours.
>Consequently, the colour pattern of a model most be decided on carefully
>prior to design. Other folders carefully choose the placement of their
>model's folded edges to acheive expression.

Consider this as a possibility. Origami has a palette of many 'colors', that
can be used to distinguish features on a model.

Even without coloring one side of a sheet, with paper that 'bruises' (shows
creases, some don't) and proper lighting, one can 'draw' with: the silhouette
of the model, flaps, folded edges, raw edges, depth (in 3-d models), paper
thickness, crease lines, reflective highlights, and shadows.

Coloring one side adds another 'color', and lets the color-change move do
more than just (a) lock layers together, (b) re-distribute tension and other
stresses, (c)  free up layers. Unfortunately, the darker colors do tend to
hide crease lines and edges. On the other hand, reflective foil colors let
you collect and concentrate light, and intensify color, see hikari-ori for
instance.

There is an octahedral modular from 6 waterbombs, discovered by Robert Neale,
and independently rediscovered by at least 2 other folders. If the modules
are folded from suitable colors of foil, light reflecting off more than one
module will be subtractively colored by each surface it touched. The effect
is that as you turn the model, the colors change, and the only time you see
the original foil colors, I think, is as each color is presented flat-on to
you.

Also, 'coloring one side'  can be extended to texturing one side of the
paper, which may be useful when designing/preparing models for the
sight-impaired.

> ... Either way, the choice of paper
>should not conceal the means of highlighting (anyone who folds a chess
>board from monochomatic paper is probably missing the point).

Well, yes. But I can almost fold a Robert Neale's Dragon with my eyes closed.

>>  2) use of paper with colored corners to emphasize the origins of
>>     heads, tails, wings, or whatever
>
>This seems to be only of acedemic value. I always find a model more
>interesting when it is not obvious where the appendages are derived from.

I understand, but I see pedagogical value here. It's easier for me to learn
or remember how to fold a model, if I can see in my mind's eye "where the
appendages are derived from". It's also easier to design a fold if I can see
that.

On a related note, there are times when knowing "where the appendages are
derived" from adds to the enjoyment. There is a beautiful dollar bill bunny
(someone help me remember whose and where I saw the diagrams, I think maybe
Momotani's, in a 1980's New York origami convention book?) that is a delight
in itself, but was even more fun when I realized "where the appendages are
derived from". Two ears are formed from one end of the bill, and two legs at
the other end, which is not a surprise. But then, suddenly, the bill is
folded in half, revealing that what I assumed would become the hind legs are
the forelegs, and a few more folds form hind legs and a tail out of what used
to be the middle of the bill. After seeing that, I realized that in most
origami, the linear order of features is seldom disturbed. To me this fold
said "It's a question of who's to be master. When I fold an appendage, it
goes where I want it to go." (to paraphrase Lewis Carroll).

Casida, I haven't seen "use of paper with colored corners" to "contrast
different aspects of folded features." If you can come up with such uses, I
think that would be interesting.

But as additional decoration it can be stunning; e.g. Fred Rohm's Vase With
Four Rosebuds. If you can come up

And there's a Rose, 3-d from a square, the petals spiral-twist around, I'm
sorry I can't remember the folders' names, I've seen it attributed to two
folders. I'm sure you know which one I'm thinking of. Anyway, there's an
origami paper patterned in a square grid of gradually changing colors of
squares. Folded in this paper, that rose seems to glow.

(It puts me in mind of a real rose variety, I don't know the name, red-orange
petal edges, shading to a yellow center in such a way that it seems to glow
with an inner light. It's an optical illusion, and a very satisfying one.)

I hope I haven't offended anyone. If I have, it was not intentional, and I
apologize.

Aloha,
Kenneth





Date: Sun, 5 Jan 1997 13:40:13 -0400 (AST)
From: Zachary Brown <zbrown@lynx.dac.neu.edu>
Subject: Help with URLs

I was going over the Origami FYI to see if all the URLs are up to date,
and I ran into some snags. Maybe some people out there can clear up these
errors:

The following URLs return AUTHORIZATION REQUIRED

http://alf2.mrc-lmb.cam.ac.uk:1500/wetfold.html
http://alf2.mrc-lmb.cam.ac.uk:1500/bos.html

The following URLs return FORBIDDEN

http://www2.gsu.edu/~gs01yyj/origami/paper.html
http://www2.gsu.edu/~gs01yyj/origami/recpap.html
http://www2.gsu.edu/~gs01yyj/origami/faq.html
http://www2.gsu.edu/~gs01yyj/ousa/ousa.html

The following URLs return NOT FOUND

http://www.he.net/~inveresk/makingRecycledPaper.html
http://www.he.net/~inveresk/history.html
http://www.mrc-cpe.cam.ac.uk/cpe/jong/agb/origami.html
http://dubhe.cc.nps.navy.mil/~ejcranks/origami.html
http://www.ncb.gov.sg/lhh/workshop/paper.html
http://www.engarde.com/~dmm/diana/origami.html
http://www.dhr.com/staff/nolan/origami/gamihome.htm
http://www.cs.ubc.ca/spider/jwu/Info/history.html
http://www.cs.ubc.ca/spider/jwu/Info/records.html

Zack





Date: Sun, 5 Jan 1997 13:45:07 -0400 (AST)
From: Kenny1414@aol.com
Subject: Re: Decorating Origami

Oops. I didn';t mean to be pseudonymous. I am

          Kenny1414@aol.com (Kenneth M Kawamura)

I'm sorry folks. I'm new to this. How are you people getting the
parenthesized names into the FROM notice? I had hoped that was automatic, but
I guess not.

And I forgot a few 'colors' on the palette of possibilities.

(1) There are several ways of using "transmission of light, instead of
rellection.

(a) With some 'papers', translucency is demonstrable, and you can fold
designs that only show up by shining light thru the paper.  If I leave a seam
where the raw edges meet, instead of overlapping them, my twistfold boxes
show a pretty star pattern in their bases, by transmission.

(b) Some transparent plastics polarize light, either in accordance with the
'grain' of the plastic, or when the plastic is strained. Viewing them bt
transmission, between two crossed polarizing filters (for instance, two
lenses of Polaroid (tm) sunglasses) will show colors that change as the
filters are turned.

(c) Modulars done from material like colored cellophane meed to be designed
to allow for the subtractive color effects when light is shining thru them.

(2) Action models
(a) add another dimension of time to the model,
(b) allow hidden colors to be exposed.

(When I was a kid, growing upo in Honolulu, Hawaii, Daddy took my brother
Richard and me to a beach in Kaneohe, on the other side of the island of
Oahu, where Daddy went spearfishing with his buddies, while Richard and I
amused ourselves on the beach, and in the shallows. At one point, I looked
down and recognized a DRAB BROWN seaslug slowly wandering past. Curious, I
gently poked my finger at the folds of mantle on its brown back. It responded
by opening up, spreading out its mantle and fllashing me the most beautiful,
intense patch of EMERALD GREEN skin just for a second, before it swam off.)

(And one of the ideas I had for the Butterfly Ball, was folding it
colored-side-in, for the obvious effect.)

By the way, I'm a natural wallflower, and lurker. I haven't been responding
to most of the postings I've read, because you-all've been doing such a good
job of answering each others' questions. As you can see, when I do start
talking, I tend to chatter. And I don't type so hot, either.





Date: Sun, 5 Jan 1997 13:49:18 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Decorating Origami

>
>I hope I haven't offended anyone. If I have, it was not intentional, and I
>apologize.
>
>Aloha,
>Kenneth

Hi, Kenneth!
        I found your letter very interesting.  You have given me an idea
about the rose I've been folding a lot of lately.  I do actually have paper,
somewhere in this mess I call home! paper which has colours that deepen fom
the centre to the edges.  Could be interesting on a rose.  I had forgotten I
had it because I never knew what to do with it.
        The modular you mentioned sounds like fun, the one with the water
bomb base that the colours reflect on each other.  Where could I find the
diagramsfor this one?
        I love folding dragons, too.  My favourite was folded from a paper
that was colured in little blue and cream triangles.  Again it was paper I
bought on impulse and then didn't know what to do with it.  On a dragon, it
gave an impression of scales.

                                                                        Cathy





Date: Sun, 5 Jan 1997 15:26:17 -0400 (AST)
From: PenneyA@aol.com
Subject: Re: Question on Dollar Folding

I wish I did have ideas for other books on dollar bill folding, but I'll bet
someone else on this listing can help you.  Does anyone else know of
resources for dollar bill folding for Kathleen? Her email address is
kkelderm@nevia.net.
                                 Thanks,
                                          Penney





Date: Sun, 5 Jan 1997 15:50:08 -0400 (AST)
From: Kenny1414@aol.com
Subject: Re: Decorating Origami

from Kenny1414@aol.com (Kenneth M Kawamura, Lansing, Michigan, US)

>Hi, Kenneth!
Aloha, Cathy!

> I found your letter very interesting.
Thank you.

re: Rose (Kawasaki's ????)
>You have given me an idea...  I do actually have paper ... which has colours
that >deepen fom the centre to the edges.  Could be interesting on a rose.

I hope you find the paper and fold the rose. It sounds like it should look
very nice. I had that rose memorized once, but I've forgotten it. I'll look
it up again someday. I was surprised when the patterned paper I had made such
a nice looking rose. Just goes to show, theory's fine, but in the end, we
need to experiment.

re: Robert Neale's 6-waterbomb-base modular
>        The modular you mentioned sounds like fun, the one with the water
>bomb base that the colours reflect on each other.  Where could I find the
>diagramsfor this one?

I can't remember where I last saw instructions for Robert Neale's
6-waterbomb-bases thing, but it is a published modular fold, so I'm sure
someone out there can tell you. In the meantime, here's a quick description.
Well, maybe not so quick.

(This is in the same family as the Butterfly Ball, but only half as many
pieces, so simpler. As a matter of fact, this is the ancestor of the
Butterfly Ball. My friend Joe Power discovered it, too, and showed it to me.
I turned it inside out, just to see what would happen, and it held. That got
me to thinking, and I extrapolated to the 12-piece Butterfly Ball, and the
24-piece "annoying thing that barely holds together, I've only managed to
assemble it twice, but it is possible". Joe and I extrapolated from those in
several directions. We thought about writing a book, but never got to it.)

It takes 6 waterbomb bases, preferably two each of three colors, you'll see
why, when you get it assembled. Keep in mind that every pair will end up base
to base, and not interlock directly.

If you/ve ever done the cubical box out of 6 rectangles, this holds together
in the same way. Opposing pair 1, grips opposing pair 2, which grips opposing
pair 3, which finally, with a leetle forcing, grips opposing pair 1,
completing the circle (sphere?) and locking everything together.

Each waterbomb has 4 flaps. These will end up ALTERNATELY inside, outside,
inside, outside the model.

There will be 8 triangular dimples, each formed where 3 waterbombs of
different colors interlock adjacent flaps. For example, WB 1's front right
flap receive's WB 2's front left flap, while WB 2's front right flap receives
WB 3's front left flap, and WB 3's front right flap receives WB 1's front
left flap, closing the circle.

One possible assembly sequence:

0) Use 2 waterbombs each of red, yellow, and blue foiled paper, colored side
out.

1) Start with a red waterbomb, upside-down (colored side down), with its
flaps arranged in a cross, left, away, right, and towards you.

(At this time, arrange the other 5 waterbombs, so their flaps are arranged at
90 degrees in a cross, too.)

2) Add a blue, colored center point facing away from you, hooking a blue flap
INSIDE the red away flap, so the blue waterbomb is facing away from you.

3) & 4) Add the two yellows, on the left and right, OUTSIDE the red flaps,
since the blue is inside, and INSIDE the left and right blue flaps, which
blue flaps need to be OUTSIDE since the down blue flap is already INSIDE.

5) Take the second blue waterbomb, color & center point towards you, put it
over (OUTSIDE) the blue, red, and blue flaps pointing towards you, and
rearrange its bottom blue flap to go INSIDE the red flap.

6) Now add the last red waterbomb, base down, over the top of the remaining
free flaps, and then rearrange its left and right flaps to be INSIDE the
yellow flaps.

I dunno, was that clear?

If you've got it assembled, it should now look like three squares,
interpenetrating along their main diagonals. There are only folded edges on
the surface, all the raw edges are in the edges of the triangular pits.

Hold it so all you see is blue, which means you're looking at the red and
yellow surfaces edge-on. Tilt the red surface so it's not edge on, and I
think you'll see the red and blue make purple. ...

Lots of Other Possibilities
Joe Power discovered you could add pleats to the parts that form the sides of
the triangular dimples, and raise them in different ways.

If you sink the peaks of the waterbombs, and reverse fold the points
accordingly, you get the starting point for the 6-piece modular Omega Star,
Robert Neale's, I think (????).

re: Dragons (Robert Neale, et al)
>        I love folding dragons, too.  My favourite was folded from a paper
>that was colured in little blue and cream triangles.  Again it was paper I
>bought on impulse and then didn't know what to do with it.  On a dragon, it
>gave an impression of scales.

Yeah, I can visualize that. Have you noticed how attractive dragons are to
people. I've seen lots of people, after their first look at a Robert Neale
Dragon, demand to learn THAT FOLD. *sigh*. It's  h a r d  to tell them they
  really need   to    get the basics down first. The Neale Dragon is so
elegant, it looks deceptively simple, and, oh, so attractive. It's almost a
bad idea to display it to beginners. Almost.

I have a scale story too. Back when I had more money, I used to browse a gift
shop for wrapping paper. One day I found a textured paper with little rounded
bumps of varying size separated by black. Sort of a snake-leather pattern I
guess. Made pretty dragons and dinosaurs while it lasted. Unfortunately no
longer in stock.

Flying Dragon story
After years of folding Robert Neale's dragon, and the trditional (?) Flapping
Bird, and wanting a Flying Dragon, it belatedly dawned on me one day, that
all I had to do was graft Robert Neale's Drogon's head and tail onto a
Flapping Bird. Wasn't quite that simple, but I did eventually end up with a
Flying Dragon, no legs tho, with pleated wings that curve when they flap, and
a zig-zag tail and body. And I reverse-engineered it into a flying crane with
pleated wings and the same springy curve.

Sorry, I don't  think I ever diagrammed that. I'm pretty sure I got out to
the Ann Arbor Origami Club (AASO) and taught it to a few people there, so
there should be someone at conventions who can teach it.

Some Other Dragons
There's a pretty Kasahara Chinese Dragon from one square, I think. And Louise
Cooper (in Arizona now? I don't have my address list handy) came up with a
very nice Chinese Dragon dollar bill fold.

Kenny1414 (Kenneth M Kawamura, Lansing, Michigan, US)





Date: Sun, 5 Jan 1997 15:54:42 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: In Search of "Patches" (NO)

Sorry to post this to everyone, but I need to get in touch with "Patches"
regarding "Brilliant Origami."   If you are out there please email me at
either rstevens@philly.infi.net OR rstevens@peco-energy.com OR BOTH ( to
make sure I get it).  I bought another copy of the book if you are still
interested.

Thanks.

Rita





Date: Sun, 5 Jan 1997 15:59:17 -0400 (AST)
From: Kenny1414@aol.com
Subject: Re: Help with URLs

Aloha,

I was getting some of those, but I just thought it was America OnLine being
weird, since I'd been warned about their censorship tactics.

Seemed to me, sometimes the NOT FOUND type messages would go away after about
three retries, but I haven't been industrious enough to keep notes and
research this like you are doing.

I'm sorry I can't help, but THANK YOU for looking into this.

Kenny1414 (Kenneth M Kawamura, Lansing, Michigan, US)





Date: Sun, 5 Jan 1997 16:34:03 -0400 (AST)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Decorating Origami

Cathy Palmer-Lister wrote:
>         The modular you mentioned sounds like fun, the one with the water
> bomb base that the colours reflect on each other.  Where could I find the
> diagramsfor this one?

I've seen this one in "The Magic of Origami" by Alice Gray and Kunihiko
Kasahara.

Janet Hamilton

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





Date: Sun, 5 Jan 1997 16:42:19 -0400 (AST)
From: Jason L Tibbitts III <tibbs@hpc.uh.edu>
Subject: Re: Decorating Origami

>>>>> "K" == Kenny1414  <Kenny1414@aol.com> writes:

[Paper with varying color from center to edge]

K> I hope you find the paper and fold the rose. It sounds like it should
K> look very nice.

I have some paper that is white in the center with half-circles of color
centered on the midpoint of each edge.  This is cheap origami paper bought
at a local chain craft store.  A rose folded out of this paper has white
inner petals and outer petals deepening in color towards their edges.  The
petals alternate in color if the half-circles are variously colored.  The
result is rather striking, though unfortunately the colors I have aren't
terribly exciting (yellow/brown, pink/blue, green/purple).

 - J<





Date: Sun, 5 Jan 1997 17:09:05 -0400 (AST)
From: Douglas Zander <dzander@solaria.sol.net>
Subject: Re: Help with URLs

>
> I was going over the Origami FYI to see if all the URLs are up to date,
> and I ran into some snags. Maybe some people out there can clear up these
> errors:
>
> The following URLs return NOT FOUND
>
> http://www.cs.ubc.ca/spider/jwu/Info/history.html
> http://www.cs.ubc.ca/spider/jwu/Info/records.html
                              ^^^
 I think Joseph Wu has moved to another location at a new job; I think
 he is in Japan now.  Joseph Wu, are you reading this?

>
> Zack
>

--
 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: Sun, 5 Jan 1997 17:40:55 -0400 (AST)
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: Decorating Origami

Jason L Tibbitts wrote:

> I have some paper that is white in the center with half-circles of color
> centered on the midpoint of each edge.  This is cheap origami paper bought
> at a local chain craft store.  A rose folded out of this paper has white
> inner petals and outer petals deepening in color towards their edges.  The
> petals alternate in color if the half-circles are variously colored.  The
> result is rather striking, though unfortunately the colors I have aren't
> terribly exciting (yellow/brown, pink/blue, green/purple).

I have some of this paper too.  Usually I try to avoid it (figure out why ;-),
but I figured it could be good for folding some types of birds.  I recently
tried it on the hornbill in Montroll's African Animals book and the result
was a dominantly yellow bird, with an orange crest, wings, tail, and a white
belly.  I would like to say I predicted all of this before folding, but (heck)
I was folding the model for the first time.  Although I expected the wings
and tail colors, I was surprised to see the bill and crest colors
interchanged from what I had originally anticipated.  That had both pedagogical
value, gave a pretty final result, and was fun --- the latter being the
main reason I do origami anyway.

                                        so long,
                                            ... Mark

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





Date: Sun, 5 Jan 1997 18:38:25 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Decorating Origami

>Cathy Palmer-Lister wrote:
>>         The modular you mentioned sounds like fun, the one with the water
>> bomb base that the colours reflect on each other.  Where could I find the
>> diagramsfor this one?
>
>I've seen this one in "The Magic of Origami" by Alice Gray and Kunihiko
>Kasahara.
>
>Janet Hamilton
>
>--
>mailto:Mikeinnj@concentric.net
>http://www.concentric.net/~Mikeinnj/

Thanks, Janet!  I think I actually might have that book.  I bought a few
during the autumn but with school starting I never got to work with them.
Kenneth sent me his instructions, too, so I should be able to work this one
out.  Somebody has to find a way to fit a few more hours into every day!

                                                                Cathy





Date: Sun, 5 Jan 1997 18:51:38 -0400 (AST)
From: cathypl@generation.net (Cathy Palmer-Lister)
Subject: Re: Decorating Origami

>I have some of this paper too. ........... I recently
>tried it on the hornbill in Montroll's African Animals book and the result
>was a dominantly yellow bird, with an orange crest, wings, tail, and a white
>belly.  ..........
>                                        so long,
>                                            ... Mark
>
>--
>*-------------------------------------------------------*
>|          Mark E. Casida                               |
>|          e-mail: casida@chimcn.umontreal.ca           |
>*-------------------------------------------------------*
Mark, I hope you still have the hornbill.  I'd love to see it.

All this talk about coloured paper is of course bringing us back where we
started---decorating origami.  What if I coloured a square to look great
when folded into a rose?  Or drew scales on paper for folding into dragons?
Kim Best had an idea for folding a crane out of a coffee filter.  A teacher
I work with once had the kids make really neat paper for butterflies by
dropping food colouring on filters.

                                                                Cathy





Date: Sun, 5 Jan 1997 22:44:17 -0400 (AST)
From: patches <patches4@shentel.net>
Subject: Re: brilliant origami

> I don't mean to bombard you with email...but i wanted to let you know i
> picked up another copy of the book if you are still interested.  someone
> just emailed me your direct address so i thought i'd give it a try.  the
> cost was $20.00 + $1.40 tax + shipping (whatever that is).  let me know if
> you are interested.  (p.s. I tried several times to email you from work

Hi Rita,

I tried emailing you the other day, and for some reason the philly
address came back.  Yes, I still want the book, and I need you to
send me your mailing address so I can send the mula to you.

I had sent my address then, but I need to make sure you get this one
before I try again, okdky....

hugs,

Patches
Patches4@shentel.net





Date: Sun, 5 Jan 1997 23:18:43 -0400 (AST)
From: Charles Knuffke <knuffke@sirius.com>
Subject: Re: Help with URLs

>The following URLs return FORBIDDEN
>
>http://www2.gsu.edu/~gs01yyj/origami/paper.html
>http://www2.gsu.edu/~gs01yyj/origami/recpap.html
>http://www2.gsu.edu/~gs01yyj/origami/faq.html
>http://www2.gsu.edu/~gs01yyj/ousa/ousa.html
>

All these URLs are for pages created by Yusri Johan. However, he had
announced that he was taking them down because he no longer had access to
the server (possibly graduated from Georgia State?). So far, I don't think
these have been reposted anywhere.

Regards,

*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*-*
Charles Knuffke       "Amen the Thunderbolt in the Dark Void"
153 Divisadero                                  -Jack Kerouac
San Francisco CA 94104
mailto://knuffke@sirius.com





Date: Mon, 6 Jan 1997 02:37:22 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Help with URLs

On Sun, 5 Jan 1997, Douglas Zander wrote:

=> I was going over the Origami FYI to see if all the URLs are up to date,
=> and I ran into some snags. Maybe some people out there can clear up these
=> errors:
=>
=> The following URLs return NOT FOUND
=>
=> http://www.cs.ubc.ca/spider/jwu/Info/history.html
=> http://www.cs.ubc.ca/spider/jwu/Info/records.html
=                              ^^^
= I think Joseph Wu has moved to another location at a new job; I think
= he is in Japan now.  Joseph Wu, are you reading this?

Yes, Doug, I am. 8) Just hadn't gotten to it. Anyway, yes, it's been changed,
but I really do prefer having links to the main page only, so that there's
less chasing around to do when I move again (i.e. when I go back to Canada).
Also, going to the main page means that you'll get the whole framework of the
page, rather than just the bits and pieces. Anyway, I know that most people
would rather go to specific points, so here's the two new URLs:

www.datt.co.jp/Origami/Info/history.html
www.datt.co.jp/Origami/Info/records.html

          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: Mon, 6 Jan 1997 05:47:00 -0400 (AST)
From: "L. Marzinko" <wilber6@ix.netcom.com>
Subject: Aura Goggles Group Buy ???

Dear  List:

I know we are not supposed to put ads on lists, but I am on the dowsing list
and we are
all trying to get an order of aura goggles together.  We need 12 orders to
get the
wholesale price of $49.95 plus shipping.  These are the good kind made of
leather like
those old time aviator goggles that they used to wear in open cockpit
airplanes.  They
block out all light except what you see through the special lenses.  You are
supposed to
be able to wear them a little bit each day and the special color in the
lenses trains
the rods or cones in your eyes to see the ultra violet spectrum, which is
where aura
vision and astral vision is.

>From what I have read about aura vision, if you can train yourself to see
this you can
also use it to see illness coming before it manifests itself in the physical
body, tell
the mood of someone before approaching them, tell if someone is lying to
you, see the aura of animals, all kinds of things.  I can see the auras of
trees, most people can but just don't realize it.  I thought it was bad
vision or something.  I would like to develope it better and to see all the
colors of the aura.

Any interested parties that would like to get in on this group buy, send me
message.

Thank you
Mary





Date: Mon, 06 Jan 1997 07:36:27 -0400 (AST)
From: "P.F.C. Blondel" <blondel@SARA.NL>
Subject: Re: Decorating Origami

> from Kenny1414@aol.com (Kenneth M Kawamura, Lansing, Michigan, US)
>
> Flying Dragon story
> After years of folding Robert Neale's dragon, and the trditional (?) Flapping
> Bird, and wanting a Flying Dragon, it belatedly dawned on me one day, that
> all I had to do was graft Robert Neale's Drogon's head and tail onto a
> Flapping Bird. Wasn't quite that simple, but I did eventually end up with a
> Flying Dragon, no legs tho, with pleated wings that curve when they flap, and
> a zig-zag tail and body. And I reverse-engineered it into a flying crane with
> pleated wings and the same springy curve.
>
> Sorry, I don't  think I ever diagrammed that. I'm pretty sure I got out to
> the Ann Arbor Origami Club (AASO) and taught it to a few people there, so
> there should be someone at conventions who can teach it.
>

  Hi there,

  Just a question for Kenny:
  is your dragon different from the flapping dragon diagrammed in
  Jay Ansill's book Mythical Beings ?

  Peter Blondel





Date: Mon, 06 Jan 1997 08:31:31 -0400 (AST)
From: Maarten van Gelder <M.J.van.Gelder@rc.rug.nl>
Subject: Uploading to the archives

Up to now you could upload diagrams and other stuff to the archives without
my intervention. But some people have used the archives upload directory to
store files that were not related to Origami. And this last time even pirated
stuff.
So I can't leave this directory open any longer.

If you want to upload some stuff in the future you should contact me and I'll
arrange the possibility for the upload (temporarily).

The 'fluffy' model is moved to the archives in directory origami/models.pdf.

Please Marc, can you check these files?

Maarten van Gelder,           Rekencentrum RuG,  RijksUniversiteit Groningen
M.J.van.Gelder@rc.rug.nl                         Nederland





Date: Mon, 6 Jan 1997 09:51:38 -0400 (AST)
From: Zachary Brown <zbrown@lynx.dac.neu.edu>
Subject: Re: Help with URL's

>>The following URLs return FORBIDDEN
>>
>>http://www2.gsu.edu/~gs01yyj/origami/paper.html
>>http://www2.gsu.edu/~gs01yyj/origami/recpap.html
>>http://www2.gsu.edu/~gs01yyj/origami/faq.html
>>http://www2.gsu.edu/~gs01yyj/ousa/ousa.html
>>
>
>All these URLs are for pages created by Yusri Johan. However, he had
>announced that he was taking them down because he no longer had access to
>the server (possibly graduated from Georgia State?). So far, I don't think
>these have been reposted anywhere.
>
>Regards,
>
>Charles Knuffke
>

This is a real tragedy, if true. Those pages contained important
information: a list of paper stores, an article on making homemade paper,
an origami FAQ, and the home page of Origami USA.

There must be some way to get these pages back on the net.

Zack





Date: Mon, 6 Jan 1997 10:58:47 -0400 (AST)
From: gualtiero giovanetto <ggiovane@to2.flashnet.it>
Subject: kusudama history

Hi everybody, I'm new on the list.
Is there anybody who can give me some informations about the history and the
meaning of kusudama?

************************************************
Gualtiero GIOVANETTO
Settimo Vittone - Italy
ggiovane@www.to2.flashnet.it





Date: Mon, 6 Jan 1997 11:21:15 -0400 (AST)
From: Lisa_Hodsdon@hmco.com
Subject: Origami in Orlando?

I'll be spending next week in Orlando with my immediately extended
family (9 adults and 6 kids--2 of whom are named Jesse, another is
named Jessey).  I'm wondering if anyone can suggest any "don't miss
the opportunity" outings in the Orlando (or Sebastian) area.

The rest of my life I spend in Boston, so I have access to some excellent
sources of material and books, but if there's anything interesting and/or
unusual I will probably be desperate for an excuse to escape the family
for a couple hours. (And I have gotten several of my nephews and my
neice interested in folding.)

Anyone know anything about the China town that is in/near Orlando?
I found out about it through their web page. It sounds interesting, but
you know how web pages are---*Everything* can be made to sound
interesting!

Thanks in advance.

Lisa
Lisa_Hodsdon@hmco.com





Date: Mon, 6 Jan 1997 12:55:32 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: Re: brilliant origami

i am responding to this using my personal email this time (i think my work
is monkeying around with firewalls so we can't alwasy get out or in for that
matter!)
My address is
Rita Stevens
4322 Pechin Street
Philadelphia, PA 19128

I am sending the package out today.  You should receive it by Wed or Thur
(the central post office is only two blocks from my work).

Enjoy!
Rita

At 09:44 PM 1/5/97 est, patches wrote:
>> I don't mean to bombard you with email...but i wanted to let you know i
>> picked up another copy of the book if you are still interested.  someone
>> just emailed me your direct address so i thought i'd give it a try.  the
>> cost was $20.00 + $1.40 tax + shipping (whatever that is).  let me know if
>> you are interested.  (p.s. I tried several times to email you from work
>
>Hi Rita,
>
>I tried emailing you the other day, and for some reason the philly
>address came back.  Yes, I still want the book, and I need you to
>send me your mailing address so I can send the mula to you.
>
>I had sent my address then, but I need to make sure you get this one
>before I try again, okdky....
>
>hugs,
>
>
>Patches
>Patches4@shentel.net





Date: Mon, 6 Jan 1997 12:55:05 -0400 (AST)
From: reeds@openix.com (Reeds family)
Subject: Re: Origami in Orlando?

  "don't miss
>the opportunity" outings in the Orlando (or Sebastian) area.

>
>Lisa
>Lisa_Hodsdon@hmco.com

The store in the Japan part of Epcot has, as has been mentioned before, a
fairly good selection of origiami paper and books, including (if I remember
right from about 8 months ago) paper with Disney characters.

The most memorable sight of our trip to Orlando was the vultures peering in
the roof windows of the Orlando airport restaurant (the one that's up an
escalator on a mezzanine)

Karen
reeds@openix.com





Date: Mon, 6 Jan 1997 13:41:08 -0400 (AST)
From: DORIGAMI@aol.com
Subject: Re:Origami Philosophy

In defense of origami  teachers,we are the ones who put life, and feeling,
design, and perpetuity into Origami models that others have been gifted with
 the ability to create.  As an idea person on how to use Origami, I sometimes
feel like a second class citizen in the Origami world despite the fact that I
have spent 36 years teaching Origami and finding new ideas as to how to use
it in many unique ways.  I have just completed 10 and 1/2 years of having a
T.V cable television show (242 1/2 hour shows in totality, and  have taught
all of these years in almost every type of envoirment, to all ages.  I am
estimating that I have taught Origami to as many as roughly 100 thousand
people considering that many of my programs and classes have had as many as
100 people at a time.  I have taught classes in napking folding, scarf tying,
money folding, making Origami greeting cards, and countless other subjects
related to Origami.
There are people in the Origami world like Rachael Katz, Laura Kruskal,
Gloria Farison, Larry Davis, Lillian Oppenheimer, and many many  others
 world wide who have made vast contributions to the growth of the Origami
world.  Are we not as important as those who create many original models and
write books about them?.  Where do we belong in the scheme of things.  I
think all who teach Origami on a regular basis are the unsung heroes.  And
the artists who beautify a model by their creativity with paper, fabric,
style, color, etc. also enhance the creators models and in a way take it out
of their hands.   I think we are all part and parcel and equal in the
creativity process of practising Origami, which is to me the most important
aspect of Origami in totality.   There she goes preaching again, as my
children always say.....I love all of you, Dorigami.





Date: Mon, 6 Jan 1997 16:19:03 -0400 (AST)
From: jfryer@lib.ursinus.edu
Subject: star with crane

I submitted my query several weeks ago, and it got lost in the early stages of
the "decorating origami" thread.  I'm submitting it again, hoping that someone
can point me in the right direction.

When I visited the aviary gallery on the Origami Club of Pittsburgh homepage,
I was intrigued with the Christmas Star with Crane by Edwin Yang. Is it
diagrammed anywhere, or can someone describe the "key" to it?  I was able
to do it with the crane attached to the bottom point of the star, but not to
the center as in the photograph.  Thanks.
                                    Judith
                                    jfryer@lib.ursinus.edu





Date: Mon, 6 Jan 1997 16:23:34 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re:Origami Philosophy

At 01:41 PM 1/6/97 -0400, DORIGAMI@aol.com wrote:

>In defense of origami  teachers,we are the ones who put life, and feeling,
>design, and perpetuity into Origami models that others have been gifted with
> the ability to create.  As an idea person on how to use Origami, I sometimes
>feel like a second class citizen in the Origami world despite the fact that I
>have spent 36 years teaching Origami and finding new ideas as to how to use
>it in many unique ways.  I have just completed 10 and 1/2 years of having a
>T.V cable television show (242 1/2 hour shows in totality, and  have taught
>all of these years in almost every type of envoirment, to all ages.  I am
>estimating that I have taught Origami to as many as roughly 100 thousand
>people considering that many of my programs and classes have had as many as
>100 people at a time.  I have taught classes in napking folding, scarf tying,
>money folding, making Origami greeting cards, and countless other subjects
>related to Origami.

When you phrase it that way, it looks as if you have made some notable
accomplishments. When and where is your show being aired? Presumably from
NJ? I have heard about it, and would love to see it. Thank you. Marc





Date: Mon, 6 Jan 1997 16:34:54 -0400 (AST)
From: rita <rstevens@philly.infi.net>
Subject: Re: brilliant origami

YIKES! I didn't realize I replied to the whole group.  Sorry.
Rita

At 12:55 PM 1/6/97 -0400, rita wrote:
>i am responding to this using my personal email this time (i think my work
>is monkeying around with firewalls so we can't alwasy get out or in for that
>matter!)
>My address is
>Rita Stevens
>4322 Pechin Street
>Philadelphia, PA 19128
>
>I am sending the package out today.  You should receive it by Wed or Thur
>(the central post office is only two blocks from my work).
>
>Enjoy!
>Rita
>
>At 09:44 PM 1/5/97 est, patches wrote:
>>> I don't mean to bombard you with email...but i wanted to let you know i
>>> picked up another copy of the book if you are still interested.  someone
>>> just emailed me your direct address so i thought i'd give it a try.  the
>>> cost was $20.00 + $1.40 tax + shipping (whatever that is).  let me know if
>>> you are interested.  (p.s. I tried several times to email you from work
>>
>>Hi Rita,
>>
>>I tried emailing you the other day, and for some reason the philly
>>address came back.  Yes, I still want the book, and I need you to
>>send me your mailing address so I can send the mula to you.
>>
>>I had sent my address then, but I need to make sure you get this one
>>before I try again, okdky....
>>
>>hugs,
>>
>>
>>Patches
>>Patches4@shentel.net





Date: Mon, 6 Jan 1997 17:02:54 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Uploading to the archives

At 08:31 AM 1/6/97 -0400, Maarten van Gelder <M.J.van.Gelder@rc.rug.nl> wrote:

>Up to now you could upload diagrams and other stuff to the archives without
>my intervention. But some people have used the archives upload directory to
>store files that were not related to Origami. And this last time even
pirated
>stuff. So I can't leave this directory open any longer.
>
It is a shame people have taken advantage of this. Is it possible to have
an open access /incomimng directory, while leaving everything else
read-only? I thought that might be mutually convenient.

>The 'fluffy' model is moved to the archives in directory origami/models.pdf.
>
>Please Marc, can you check these files?

The files loaded properly on my system.

Marc





Date: Mon, 6 Jan 1997 17:06:32 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: star with crane

At 04:19 PM 1/6/97 -0400, jfryer@lib.ursinus.edu wrote:
>
>When I visited the aviary gallery on the Origami Club of Pittsburgh homepage,
>I was intrigued with the Christmas Star with Crane by Edwin Yang. Is it
>diagrammed anywhere, or can someone describe the "key" to it?  I was able
>to do it with the crane attached to the bottom point of the star, but not to
>the center as in the photograph.

This sounds like Edwin Young. Edwin had produced a lot of combo folds like
that, and a few were published in OrigamiUSA Annual Collections, circa
1988. When the index is updated (I heard it will be soon), it will be easy
to find the exact volume.

Marc





Date: Mon, 6 Jan 1997 17:34:30 -0400 (AST)
From: Kim Best <Kim.Best@m.cc.utah.edu>
Subject: Re: Uploading to the archives

On Mon, 6 Jan 1997, Maarten van Gelder wrote:

> Up to now you could upload diagrams and other stuff to the archives without
> my intervention. But some people have used the archives upload directory to
> store files that were not related to Origami. And this last time even pirated
> stuff.

One possibility would to remove read permission from the directory.  That
way people could upload anything they like, but no one could download them
until you have move them to there proper spot.

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: Mon, 06 Jan 1997 18:35:02 -0400 (AST)
From: Kristine Tomlinson <ktomlinson@platinum.COM>
Subject: Re: Early Chronology in U.S. and a Correction

Hi,

Thanks also to John Smith for his note of 4 January 1997 regarding my
posting of early folding finds in the U.S.  I must say, words such as
"meticulous" and "competent" make me blush, especially when after
reviewing my notes, I realized that either: 1. Henry Dean was one *very*
precocious 7-year old, 2. perhaps there was more to his magic than
meets the eye, or 3. his birth and death dates belong to another Henry
Dean.  I apologize for the mistake; it will be a while before I can return to
the library, but I'll post the correct information when available.

As John noted, it is interesting that magic and children's toys are the
areas where early origami references turn up.  The children's literature
librarian who helped me said it is quite common for researchers to find
what they're looking for in childrens' books as compared to other
contemporary sources.

On a parallel thread, I picked up a catalog on paper cuts put out by a
museum in Israel.  It includes paper cuts from all over the world with
histories.  Paper cutting, like folding, had religious origins -- not only in
China, but in Jewish tradition and in other countries like Germany and
Mexico, etc.   Investigating paper cutting as a side-line may shed light on
folding and how the two evolved into art and crafts. ( Has any work
been done comparing folding patterns between the two?)  My intuition
tells me, that if you traced the magic (as in conjuring, not occult) books
back far enough, you will get to sources with more of a religious/occult
focus than an entertainment focus.  Simply stated, what may have
started out in the sacred sphere, moved into the conjuring-entertainment
sphere.  Both are mysterious and require faith of a sort, but the
motivations differ.  Or do they? :-)  The theater, as another example,
started out in the sacred arena and has all the same magic, mystery, and
illusion of the others.

In fact, there are two English references dating back to the 16th century,
that are supposed to be the basis for Henry Dean's book that may
illustrate this theory.  I'd be very happy to forward the titles along to you
and David Lister for your visit to the Harry Price library.

Thanks again,

Kristine Tomlinson
ktomlinson@platinum.com
Waltham, MA, USA





Date: Mon, 6 Jan 1997 19:38:15 -0400 (AST)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Origami in Orlando?

Lisa_Hodsdon@hmco.com wrote:
>
> I'll be spending next week in Orlando with my immediately extended
> family (9 adults and 6 kids--2 of whom are named Jesse, another is
> named Jessey).  I'm wondering if anyone can suggest any "don't miss
> the opportunity" outings in the Orlando (or Sebastian) area.

Lisa,

If you are going to be "visiting the mouse" while in Orlando, here's a
source for some origami paper and books.  The unique thing they have is
origami paper with the Disney characters on it.  Of course, you can only
get to the store if you have paid admission to EPCOT.  HOWEVER, you can
get a 1-hour pass into EPCOT if you tell the customer service people at
the gate that you are exchanging something bought there the day before.
If I remember right, they charge you for the pass, and refund the money
if you return it within the time limit.

Mitsukoshi
Japan Pav.-EPCOT Center
P.O. Box 10000
Lake Buena Vista, FL 32830
(407) 827-8513

Here's a recent article on EPCOT.  I don't think the holiday decorations
will still be up when you get there, though.

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: Mon, 6 Jan 1997 21:19:45 -0400 (AST)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: BOS  overseas members renewals

At 02:12 PM 1/1/97 -0400, you wrote:
>
>If you want to renew by credit card and you sent me a number last year
>which is still valid there is no need to quote it again.
>
>Just send me a message authorising me to debit your account for your BOS
>subscription so that I can print it out and file it.

You have my permission to debit my account. If my original account is
missing, let me know, and I will foward over the *snail-mail* version.

Other info:
membership #996
telephone# 212 663-9131 (this was printed in error in the last membership
list)
you have my permission to print my contact info in the membership list.

>
>Happy New Year to ALL of you BOS members or not,

Thank you, and happy New Year to you as well.

Marc Kirschenbaum





Date: Mon, 6 Jan 1997 22:48:10 -0400 (AST)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Aura Goggles-Reply

Kevin Kinney wrote:
>
> Sorry to continue a non-origami thread, but

Well, if I may, I would add that NO (non-origami) letters sometimes enlighten
our day.  But sometimes, we must think harder...  Now, "aura goggles".  What
the... ?  Maybe would you all, and mostly Brill's Brilliant Origami
searchers, like to know there is a "spectacles" model in that book.  Intended
to detect secret sink folds. :-)  Thank you so very much, David Brill.  Now
if I could just get a hold on that incredible model of mecanical wet fold
fingers you can obtain with silk coated tissue paper... ;-))

Jean Villemaire
Montreal, QUEBEC
boyer@videotron.ca





Date: Mon, 6 Jan 1997 23:50:21 -0400 (AST)
From: Kenny1414@aol.com
Subject: Re: Decorating Origami

In a message dated 97-01-06 07:00:12 EST, you write:

<<   Just a question for Kenny:
   is your dragon different from the flapping dragon diagrammed in
   Jay Ansill's book Mythical Beings ?
  >>

Saw you message this morning, and had to look in my library to see what that
flapping dragon looked like. Then had to get to work,so I couldn't answer.

Yes, my dragon is different. Larger wings. Better-looking wings, too, IMHO.
No legs, tho I don't know if Ansill's has legs, because I just now misplaced
the book.

Aloha,

Kenny1414@aol.com (Kenneth M Kawamura, Lansing, Michigan, 48826-6039, US)





Date: Tue, 7 Jan 1997 02:15:10 -0400 (AST)
From: Glenda Scott <gdscott@owt.com>
Subject: Re: kusudama history

>Hi everybody, I'm new on the list.
>Is there anybody who can give me some informations about the history and the
>meaning of kusudama?
>

"KUSUDAMA is a decorative paper ball for festive occasions.  Originally is
was an ornamental scent bag hung to clear away noxious vapors, thus the
name "KUSU" (medicine) = "DAMA" (ball).  Origami works are usually made
from one piece of square paper, but Kusudama Origami is different.  It
combines several units of origami.  Folding each piece and then joining the
units with the completed ball in mind is an enjoyable process.  No
intricate methods are involved."

from the book KUSUDAMA, Ball Origami by Makoto Yamaguchi, Shufunotomo/Japan
Publications.  ISBN 0-87040-863-1

Glenda Scott
http://www.owt.com/gdscott
