




Date: Wed, 15 Jan 1997 02:19:08 -0400 (AST)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: How I Got Started in Origami (long)

Hello Gang! -

        Well, I was born at a very early age, and then...oops, wrong story!
8-)  heh, heh...

        I was first introduced to origami when I was around 3.  My father
had a small library of origami books, including that nigh-legendary
hardbound (and in a cardboard housing on top of that!) edition of Isao
Honda's book and several of Harbin's and Kasahara's books, and a large
ziploc full of origami paper.  (It was a sort of origami paper I haven't
encountered in years:  it was extremely thin and somewhat brittle -- I
would describe it's texture as "crispy," but it worked well enough.)  I
have a few cloudy memories of dragging the books and paper off the shelf
and flipping through them and admiring the pictures until I found something
I really wanted and would beg my father to make it for me.  This went on
periodically as I got older; I have a recollection of the first model I
tried to make on my own during one of those folding sessions as being the
"Dove" in Honda's book -- many unsuccessful attempts, and then I got it.

        Somewhere around junior high, when a young boy's hormones turn to
things other than origami, I lost interest, and I think my dad did too, as
I have no memories of him ever doing it during that time (although around
about then he and my mom divorced and I didn't spend a lot of time with
him).  However, in high school, I moved in with him.  At some point during
my sophmore year, I realized that I didn't have any hobbies, and so one day
dragged the old Honda, Kasahara, and Harbin books off the shelf and started
trying to figure them out on my own.  I don't remember how far I got; I
remember being especially tickled by the 3-piece "Dragon" and the various
masks in Kasahara's _Creative Origami_.  I think my dad must have noticed
me doing it because one day he came home with a copy of John Montroll's
_Origami for the Enthusiast_ which was, of course, heads above anything he
had in the library, complexity-wise.  I think I wore that book _out_ trying
repeatedly to make most of the models in it.  After doing all the fish, I
jumped ahead to the "Pegasus," which became something of an obsession -- I
can't tell you _how_ many trees gave their lives that I could try to fold
that damned equid!  ;-D  I took the book with me everywhere:  I have one
particularly fond memory of having the book in my lap and folding on top of
it behind my desk during a sophmore English class (I think I was making, at
a friend's request, the "Toucan").  In fact, I did that more than once, and
in the sterile, brick-walled room in which we had class, the crinkling of
paper (I mostly used notebook or typing paper) was quite audible, and
irritated ol' Dr. Barnes considerably -- so much so that I received a test
back from him one day that had very clearly been crumpled into a wad and
unfolded, and had, written across it in bright, red letters: DO NOT FOLD
PAPER IN CLASS!!!!  Irritating Dr. Barnes was, for both myself and several
of my friends, a wonderful source of personal amusement, so you can guess
how that little chastisement affected me.

        I finally completed the "Pegasus" shortly thereafter, sitting in
the car while my father was on an errand. It was sloppy (and thick, made
from typing paper), but I was quite proud!  After that, I think, figuring
out most of the other models was a cascading event -- one right after
another, like the "Pegasus" was a dam and I had just burst through...until
I hit the "Mountain Goat."  That peculiar semi-stretch move in step 40 just
gave me fits for months!  I recall spending many of my free-periods in the
school library with that book getting stuck at that step.  Eventually, I
realized that it was the same as the move in the "Rabbit" model (which I
had skipped over to get to the complex models!), and after toying with the
"Rabbit" for a while, I figured out the semi-stretch, and voila! out came
the "Mountain Goat."  That model was a particular favorite of my Physics
lab partner Todd and I my junior year.  I think I folded one (from memory,
at that point) every single day for the duration of that class, because
Todd had discovered that, if you dropped a book on that particular model,
it tend to flatten out with the head smashed (read:  unfolded) and the legs
splayed out to the sides, kind of like a bear-skin rug would have, which we
found to be absolutely hilarious.  We even developed a routine:  Todd would
get this pseudo-psycho, insane look on his face, cock his head slightly
and, with eyes wide and teeth gritted, mutter in a mock "insane person"
voice, "Gonna kill the goat, Jerry!  Gonna kill the goat!" while lifting
his Physics textbook, ever so slowly, to the proper elevation, and
then...WHAM!  Instant flattened goat, and we'd have several minutes of
poorly-supressed, hilarious laughter.  Thankfully, Dr. Barnes was nowhere
near the physics department.  I don't recall learning any actual physics
that year...

        Shortly thereafter, I got Montroll's _Animal Origami for the
Enthusiast_, which provided the new challenges of the crab and lobster,
which kept me occupied for a while.  After those, I recall moving back to
some of the stranger models in Harbin's _Origami_ and _New Adventures in
Origami_ (also called _Origami 2_), such as the "Aladdin's Lamp" and the
"Knight" and "Skier" models -- the combination of complexity of those
models coupled with Harbin's rather unclear diagramming caused me to have
Jack Skillman's "Jackstone" in _New Adventures..._.  Like the "Pegasus"
before it, I became obsessed with solving that puzzle (I just couldn't
figure out how to recollapse the model on pages 128-30), and another plot
of forest probably gave it's life only to end up in frustration-induced
wads.  I don't think I got that model until my senior year, and I recall
having done it after discovering foil paper, which held itself up nicely
enough for me to successfully complete the collapse.  Hooray for foil! Foil
also played an integral part in my figuring out Pat Crawford's models in
Harbin's _Step-by-Step Origami_, and the "Unicorn" and "Three-Masted Ship"
were particular favorites.

        I don't recall much of what happened after that, at least not in
any sequence.  Somewhere in there I began to tinker with inventing.  My
very first invention was a flapping crane folded from a right triangle
(half a square, diagonally), which ended up with tremendous, floppy wings,
which I called a "Flapping Pterodactyl" (and strangely, at that time, I had
not yet rediscovered dinosaurs or paleontology, and had no interest in
becoming a paleontologist!  An origami premonition...?)  I did a lot of
paper "tinkering" -- folding a piece of paper with no specific model in
mind, but just to see what would happen if I folded the paper in a new way
I hadn't seen before, or combining new sequences of moves.  Most of my
early inventing went on that way, and I still do this today, just for the
experimental value (but most of my modern inventions are premeditated).  I
think my first premeditated model, which also emerged in my terminal stages
of high school, was a "Jumping Toad" (as I called it), which was a version
of the traditional "Jumping Frog" model that is made from a 1:2 rectangle
collapsed into two opposing waterbomb bases.  I pleated up the sides of a
square to get a 1:2 rectangle, and turned the pleats at the edges of the
paper into digits.  Clearly it was inspired by Montroll's "Frog with Toes"
in _Animal Origami..._, but much less graceful.  The model was eventually
published in the _1989 FOCA Annual Collection_ (also the first time I'd
ever tried to diagram anything -- I cringe when I look at those things
today!)

        The FOCA (now OUSA) became integral to my folding experience
sometime just before I finished the "Jackstone;" I distinctly recall
getting my initial issues of "The Newsletter" and "The Origamian" (the one
with the Shall brothers -- sadly, the last issue of that newspaper).  I
also ordered and got the 1988 Annual Collection, which introduced me to the
much broader world of less-famous but no less eager folders than the
Montroll, Harbin, Kasahara, and Honda I had known.  Most impressive in my
mind at the time was Marc Kirschenbaum's "Helicopter," which even to this
day I haven't quite folded in an aesthetically pleasing manner, but that is
(no offense here, Marc!) due entirely to the fuzzy diagrams.  I think about
that time I used the FOCA to broaden my own horizons, and I think it was
about this time that I began intermittent correspondences with Marc and
with Stephen Weiss, and yes, even occasionally with John Montroll!  (Hey
John -- remember my first letter to you?  I asked you about advice on
putting a body on a "Triceratops" head I'd managed to produce from a
double-blintzed bird base?  8-D  )  I invented a few more models, mostly
simplistic variations on other extant folds.  Another premeditated model,
my "Mandrill," came out of some tinkering with a hybrid bird- and
frog-base, and was in the 1989 FOCA Annual Collection.  My crowning jewel
(at that time), however, was a "Scorpion" I invented, mostly because I
thought the legs on Pat Crawford's model were too stubby.  I was proud of
the "Scorpion" because the method of obtaining the model came to me one
night while lying bed, trying to fall asleep -- the first time I folded it,
it came out just as it was presented in the 1991 Annual Collection.  (Now,
of course, I view the model with historical fondness, but I must admit,
it's really an awkward and ungly model!  Do I have to lay claim to it?)

        I apologize for the length of this parable, but I hope it finds a
home somewhere, at least in someone's heart.  In the past, when I've taught
origami to people who struggle as I did with complex models, and they ask
me how long it took for _me_ to figure it out, I'm usually reticent to
answer, because I think that I mastered many of them rather quickly
compared to most.  When I say that, it sounds discouraging, and I
definitely don't want it to be!  Frankly, if _I_ could do them, anyone
willing to put in the effort can do them, and have the same kind of fun I
did in the trying and learning process!  I'd like, if anything, for this
anecdote to be both amusing and educational.  Anyway, I just got to
thinking about it all, and out it came through my fingers and into the
keyboard.  Thanks for reading (if you didn't trash this from boredom after
the first few sentences!  ;-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, 15 Jan 1997 03:13:00 -0400 (AST)
From: Jason L Tibbitts III <tibbs@hpc.uh.edu>
Subject: Re: How I Got Started in Origami

OK, this one brings back a few fond memories.

I didn't start playing with origami until college.  I was taking Japanese
for a language requirement and happened to notice a Japanese girl folding
cranes while in a study group.  I watched her do a couple, then borrowed a
small stack of 3" paper and made a few.

>From then on, I was hooked.  I went to the bookstore, bought a copy of
_Origami for the Enthusiast_ and started folding.  But there was a problem,
you see.  All I had was 3" paper and I had no idea where to get more.  I
didn't even know that there were other sizes of "real" origami paper.  So I
spent hours folding tiny models like the peacock and the rabbit, hunched
over a desk with tweezers trying to get the paper to do my bidding all the
while swearing silently that the Japanese were truly insane people.
Eventually I gave up trying to do the Pegasus from a 1.5" x 3" rectangle
and I bought a paper cutter.  It wasn't until several months later that I
found larger paper at an art supply store.  (Houston is an origami
wasteland.)

 - J<





Date: Wed, 15 Jan 1997 08:01:33 -0400 (AST)
From: Holmes David EXC IS CH <holmes@chbs.ciba.com>
Subject: What have I missed?

Hi all,

Well it seems I've been struck by the same mysterious force which
unsubscribes people from the list without them knowing 8^)

Has anything interesting been discussed in, say, the last week or so?
I'll take a look at the archives - how soon are they updated?

Anyway, I'm sure my Inbox will soon fill up again!

Dave

--
David M Holmes - Internet/Intranet Infrastructure, Novartis
<holmes@chbs.ciba.com>     - work           Ooo
<david.holmes@bigfoot.com> - other stuff   (   )
http://www.geocities.com/Tokyo/2162         ) /
Perl Programmer && Paper Folder            (_/





Date: Wed, 15 Jan 1997 15:45:09 -0800
From: Eva Jantschek <jantsche@cip.ub.uni-muenchen.de>
Subject: ww

ww





Date: Wed, 15 Jan 1997 03:47:33 -0800
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: ww

Eva Jantschek wrote:
>
> ww
That's what we call crimp folds, "plis accordion" in french.  Nice design,
Eva.  Is it your own?

Jean Villemaire
Montreal, QUEBEC
boyer@videotron.ca





Date: 15 Jan 97 16:49:00 GMT
From: Mr D Cohen <dc35983@ggr.co.uk>
Subject: RE: ORIGAMI-L digest 595

> Best new folds (at least new to me in 1996 )
> Herman van Goubergen's Cat, here is something really outstanding, Curio
> folds with precise landmarks and curved folds. As usual a real feeling for
> his subject. An epic creation.

> I vote for Hermann, not only for his cat that is nice fold, but for
> all his inventions in the last years (gecko in a wall, up and down
> fold, hermanmobile...)

A group of us all treied to fold Herman's cat at the weekend. Although 1 or
2 models came out OK, I don't think any of them really did justice to what
the model should really look like. We all had problems around diagrams 21
through to about 26 - forming the head. We just couldn't figure it out for
ages, but evetually got there. Most of us made the head to small. I agree,
it's another Herman special. If you ever get the chance to be in on one of
his teaching sessions - don't miss out, as it's a great experience.

David Cohen
(B.O.S. "People, Paper & Places)





Date: Wed, 15 Jan 1997 11:17:17 -0500
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: ww

At 11:16 AM 1/15/97 -0400, you wrote:
>Eva Jantschek wrote:
>>
>> ww
>
>That's what we call crimp folds, "plis accord=E9on" in french.  Nice design,
>Eva.  Is it your own?

It could have been designed independantly, but I suspect it was derived
from my *www* fold. Marc





Date: Wed, 15 Jan 1997 11:28:43 -0500
From: Jeannine Mosely <j9@concentra.com>
Subject: Module works for European business cards

I was wrong yesterday when I said that Kenny's module could only be
modified to work for American business cards.  Actually, many
proportions of cards will work, but American cards are best, being
very nearly in the proportions of sqrt(3):1.  If the proportions of
your cards are are greater than sqrt(3):1, there will be a small
triangular hole in the middle of each face of the finished model.  If
they are shorter, there will be a small triangular hole at each vertex.

For cards that are sqrt(3):1 or longer, the technique described below
will work.  If they are shorter, Kenny's original instructions should
be followed.  At the end of this message I give a quick test for you
to tell which kind of cards you have.

Also, I have thought of some improvements to the construction
technique for this module.  To help simplify the discussion, call one
card the "template", and the other the "module". I give the entire,
improved, construction technique.

Fold the module card in half lengthwise. Take the template card and
lay it across the module card so that one corner just touches the
midpoint of a short edge of the module card.  (This midpoint is marked
by the crease already made.)  Position the nearest adjacent corner of
the template card to touch a long edge of the module card.

     ________________________________
    |                /--         \   |
    |               /     --      \  | <-- Fold this edge to touch the
    |              /          --   \ |     top edge of the template,
    |             /               --\|     making the crease shown.
    |- - - - - - /                  -|
    |           /                  / |
    |          /                  /  | <-- Fold this small flap over
    |         /                  /   |     the edge of the template.
    |________/. _ . _ . _ . _ . /____|
            /                  /
           /                  /
          /                  /
         /                  /
         --                /
             --           /
                 --      /
                     -- /

Now mountain fold the template as shown and fold the lower half of the
card up, so that is cradles the module. This will make it much easier
to reposition the cards for folding the additional flaps.

Next, fold two small triangular flaps at the right edge of the module
as follows.  Vallely fold the lower flap along the edge of the
template. The crease for the upper flap is made by bringing the upper
right half of the modules's right edge to lie along the top edge of
the template.

Finally, remove the module from the template, turn it 180 degrees,
slip it back into the template, and repeat, to make two more small
flaps at the other end of the module. (Don't turn the module over,
just rotate it, or you will end up with the flaps pointing in opposite
directions.)
The same template can be used to make all the additional modules
needed.

One last improvement: if you are using American business cards, you
can make the template's crease by just folding two diagonally
opposite corners of the card to touch.

Finally, if you don't remember what to do with them, I quote Kenny's
original message:

   (1) 6 modules, 2 each of 3 colors, will make a nice tetrahedron.
        Each module goes along an edge of the tetrahedron,
        and the flaps of a module go alternately under and over other modules.

   (2) 12 modules, 4 each of 3 colors, make an octahedron.

   (3) 30 modules should make an icosahedron, but I haven't tried it yet.
        Would be tricky to assemble.
I agree that 30 modules would be tricky to assemble.  Furthermore, I'm
not even sure that the model would hold together.  Somebody want to
try it, and let us know?

For folks with non-American cards: Fold opposite corners of your card
to touch. There is a large triangular region where you have two layers
of card, with two triangular flaps on either side that are one layer
thick.  Fold one of these flaps over the big triangle in the middle.
If it's edge just lines up with the folded edge of the big triangle,
you card is the ratio of sqrt(3):1.  If the flap's edge overhangs the
edge of the big triangle, the ratio is less than sqrt(3):1.  If the
flap's edge fails to reach the edge of the big triangle, the ratio is
greater than sqrt(3):1.

        -- Jeannine Mosely





Date: Wed, 15 Jan 97 10:50 CST
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: RE: ORIGAMI-L digest 595

>> Best new folds (at least new to me in 1996 )
>> Herman van Goubergen's Cat, here is something really outstanding, Curio
>> folds with precise landmarks and curved folds. As usual a real feeling for
>> his subject. An epic creation.

        I could use a good origami cat!  Would anyone out there be willing
to exchange diagrams of this cat for something they want that I might have?

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, 15 Jan 1997 12:24:44 -0500
From: Pam and/or Namir <pgraben@umich.edu>
Subject: Stories of a Folder

Here's a storie I have, to be told to my grandkids eventually, or whatever:

My first creation:
I was being a bored hyperactive child, as my mom went shopping for clothes at a
Talbot's.
  I had to come for some inane reason, and was told to "plant my butt here
and not move".  I whipped out a piece of origami paper and folded a bird
base.  (All the complex models I knew started in a bird base, which logically
gave the most points in a square.  According to Isao Honda) I tinkered
around, doodling with my bas, until a fish popped into the model.  Basically
a crane turned 90 degrees and one point sticking out.
  Anyway, point was it was pretty cool.  Another boy a few years younger came
over (obviously in a similar bind) and watched me, asking what I was doing.
I explained, and asked if he had ever folded a paper airplane.  I thought
Every human being knew how to fold one.  I don't even remember how I learned.
I just sort of "knew" how to, like you know that the left shoe goes on the
left foot, etc.  But this guy didn't know.  Excited, I taught him how.  I had
to leave then.  Hopefully it stuck with him, and maybe he's reading this
right now also!

-Namir
!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
Pamela Graben:     Thinking... what a concept!
Namir Gharaibeh:  "If you choose not to decide, you still have made a choice."
pgraben@umich.edu





Date: Wed, 15 Jan 1997 19:10:36 +0100
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: ww

Marc,
At 12.23 15/1/1997 -0400, you wrote:

>>> ww
>>
>>That's what we call crimp folds, "plis accord=E9on" in french.  Nice=
> design,=20
>>Eva.  Is it your own?
>
>It could have been designed independantly, but I suspect it was derived
>from my *www* fold. Marc=20

AHA !!!! So it's YOU who has stolen my *mmm* fold ! Don't cheat.... I see
you have reversed all the creases !

:-D

Roberto





Date: Wed, 15 Jan 1997 13:26:38 -0500
From: "Steve Theil" <theil@htonline.com>
Subject: Re: Early Chronology

I wish to express my gratitude for the fascinating responses of Doris
Lauinger, Magdalena Plewinska, and others to my question about the early
chronology of the German, Swedish, Polish, FROEBEL star! If I understand
correctly, Froebel (b.1782-d.1852) included this fold in his curriculum
during the early eighteen hundreds, and since this is the same period
during which the Harmonist (Swabian Pietist) settlements were created in
the U.S., it would not be beyond the bounds of reason to assume that the
Harmonists might have been working from the same tradition that Froebel
gleaned his information from -- and thus may very well have brought the
fold to the U.S. at that time.

At the very least, one might assume that they were indeed creating the
"Froebel" star in their community at that early date (1804-late nineteenth
century).

I cannot thank you all enough for your kind attention and information.

Linda Theil
theil@htonline.com





Date: Wed, 15 Jan 1997 13:09:41 -0500
From: "Steve Theil" <theil@htonline.com>
Subject: Animated diagrams was re: Smith awards for '96

Dominic said: "Another great program is Greatest paper airplanes wich
demonstrate a variety of planes in VRML. It shows a piece of paper in 3D
and actually animates the fold,  This too is an alternate format to
diagrams which is very appealing to the beginner."

Are these animated diagrams available at:
http://pchelp.inc.net/PaperAirplanes
???

I saw these animated diagrams on the web once, but don't have the URL now.
I couldn't get connected to the site above and wonder if it is still
active, and whether it is the animated-diagram site I glimpsed before. Any
suggestions?

Thanks,
Linda Theil
theil@htonline.com





Date: Wed, 15 Jan 1997 14:12:13 -0800
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: ww

Robby/Laura/Lisa wrote:
>
> Marc,
> At 12.23 15/1/1997 -0400, you wrote:
>
> >>> ww
> >>
> >>That's what we call crimp folds, "plis accord=E9on" in french.  Nice=
> > design,=20
> >>Eva.  Is it your own?
> >
> >It could have been designed independantly, but I suspect it was derived
> >from my *www* fold. Marc=20
>
> AHA !!!! So it's YOU who has stolen my *mmm* fold ! Don't cheat.... I see
> you have reversed all the creases !
>
> :-D
>
> Roberto

Non, non, your "mmm" fold is directly inspired by ancient roman architecture.
But you have a point: it may be a reversed MMM.  (And then, if you turn your
computer upside down, you now get MMM links on the internet.)  What do you
think, Eva from Munchen?

Now, is this origami content or what???  OK, who's next?

Jean





Date: Wed, 15 Jan 1997 15:35:06 -0500
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: More about Kenny's Module

Earlier I sent mail about improved techniques for making Kenny's
module out of business cards whose proportions are sqrt(3):1 or
greater.  Now I have a similar method for making the module out of
shorter rectangles, such as so-called 3x5 cards.

This method involves making a template similar to the one described
for the longer rectangles.  Start by folding the template card in half
lengthwise.  Orient it with the long edge vertical.  Fold the lower
right corner up to touch the center crease and move it along that line
till you find the point where folding will bring the crease out
through the lower left hand corner. Fold the upper right corner down
making a crease along the diagonal portion of the right hand edge,
continuing along the dotted line shown below:

    _________________
   |        |        |
   |                 |
   |        |        |
   |.                |
   |   .    |        |
   |      .          |
   |        |        |
   |       / \       |
   |      /     \    |
   |     /         \ |
   |    /          / |
   |   /        /
   |  /      /
   | /    /
   |/  /
   |/

Unfold completely, and then refold only on the last crease made (the
upper of the two diagonals).

This is the template.  Here's how to use it:
Fold the module card in half lengthwise and unfold.

The last crease made in the template divides the card into two
nearly equal halves, but one half is a little shorter than the
other.  Make the short half be in front. Slip the module into the
"V" of the template. Move the template so that the right corner
just touches the right edge of the module, slightly below its
midpoint. (This midpoint is marked by the crease already made.)

Note that the length of the lower edge of the module sticking out
of the template on the right is just equal to the length of the
edge sticking out on the left.  (The proof is left as an exercise
to the reader.)

        ________________________________
       |                                |
       |                /--             |
       |               /     --         |
       |              /          --     |
       | - - - - - - /               -- |
       | \          /                  -|
       |           /                  / |
       |   \      /                  /  | <-- Fold this small flap over
       |         /                  /   |     the edge of the template.
       |     \  /                  /    |
       |______ /                  /_____|
               ------------------

        ^ Fold this corner and the left part of the lower edge
          to lie along the left edge of the template.

Next, fold two small triangular flaps at the bottom edge of the module
as follows.  Valley fold the right flap along the right edge of the
template. The crease for the left flap is made by bringing the lower
left edge of the module to lie along the left edge of the template.

Finally, remove the module from the template, turn it 180 degrees,
slip it back into the template, and repeat, to make two more small
flaps on the other edge of the module. (Don't turn the module over,
just rotate it, or you will end up with the flaps pointing in opposite
directions.)

The same template can be used to make all the additional modules
needed.

        -- Jeannine Mosely





Date: Wed, 15 Jan 1997 13:14:05 -0800
From: Pat Slider <slider@stonecutter.com>
Subject: Re: Kittyhawk airplane cd

At 02:31 PM 1/15/97 -0400, you wrote:
>Dominic said: "Another great program is Greatest paper airplanes wich
>demonstrate a variety of planes in VRML. It shows a piece of paper in 3D
>and actually animates the fold,  This too is an alternate format to
>diagrams which is very appealing to the beginner."
>
>Are these animated diagrams available at:
>http://pchelp.inc.net/PaperAirplanes
>???

This is the product put out by Kittyhawk software. Here's their web site:

http://www.khs.com/khs/KHSMAIN.HTM

You can get a Windows or a Mac demo of the paper airplane software at this
site. (Actually this demo turned up all over the web, so perhaps this is
what you saw at the pchelp site.)

KittyHawk also has two other paper-folding CDs now, one for simple animals
and one for Christmas ornaments. I don't think either one of these have ever
been reviewed on this list, and I haven't seen either one of them myself.

I also just noticed that they are running a "paper creation of the week".
Looks like I have to get yet another Netscape plug-in though to try folding
this weeks paper airplane model....

Now as I recall, Nick Robinson never saw a penny from his models on this CD?
Still true? I can't help but wonder whose models they are using for their
"paper creation" promo....

pat slider
slider@stonecutter.com





Date: Wed, 15 Jan 1997 13:30:51 -0800
From: Pat Slider <slider@stonecutter.com>
Subject: RE: Kittyhawk site addendum

In case anyone else is going through the process of getting the FutureSplash
plug-in to look at the "paper creation" at the kittyhawk site. FutureWave
has just been bought out by Macromedia....so Netscape says that you have to
go to the macromedia site:

http://www.macromedia.com/support/downloads/index.html
of another place to download this?

pat slider
slider@stonecutter.com





Date: Wed, 15 Jan 1997 13:12:49 -0800 (PST)
From: Robert Maldonado <robert_maldonado@csufresno.edu>
Subject: Re: How you got started in Origami

I learned the traditional models in 4th grade (flapping bird,
waterbomb, frog).  It may be my brother learned in his class and
taught me.  I remember doing the bird and frog for a Show & Tell.
Soon after I got one of R. Harbin's books (Art of
Paperfolding) and was in heaven.  I remember especially enjoying
Yoshizawa's pigeon.  I folded many during Fifth Grade free time.
I thought it so lifelike.  I had a few of the small books, but
stayed pretty much with that until I found Montroll's
Origami for the Enthusiast (I think shortly after it was published,
maybe early 80's).  It opened a new world of folding possibility and
that's when my folding took off, and my library grew, and my friends
found me more odd.  Still folding thirty years later, too.

I mostly do origami for recreation/relaxation.  I give some as gifts
and once did a display in a public library in upstate New York.  I
especially like making something complex and giving it to my toddler.
He's not too respectful, but enjoys them.  They don't end up lost in
some box somewhere, but then nor do they last that long.  In spite of
folding all these years I've only folded with someone else twice.
Once with a couple students eight years ago and again with some
colleagues last month.  That was a lot of fun.  Gotta do more.

Robert D. Maldonado
Philosophy Dept.
CSU, Fresno
Fresno, CA 93740-0105
robert_maldonado@CSUFresno.edu





Date: Wed, 15 Jan 1997 13:36:31 -0800
From: Pat Slider <slider@stonecutter.com>
Subject: RE: Kittyhawk addendum...ooops

I somehow messed up. You can still download a version of futuresplash for
Windows 95 or NT here:

http://www.futurewave.com/downloadfs.htm

Guess Netscape was jumping the gun....

(I must say that KittyHawk must not be valuing their Mac customers! Wonder
why they didn't just use shockwave so everyone could access this?)

pat slider
stonecutter.com





Date: Wed, 15 Jan 1997 13:54:41 -0800
From: Pat Slider <slider@stonecutter.com>
Subject: RE: Kittyhawk again....

Ok, really this is the last message....
Got the futuresplash plug-in installed and went back to the kittyhawk site.
The online "paper creation of the week" animation looks like it is generated
with the same in-house software they used for their CD animations. My only
complaint is that it will be a hassle to print these diagrams out :->.

Hope they do put up a new one of these every week. I'll be a regular
visitor. Given this plane diagram, I wonder if they are working on another
CD? This would make sense if they are going to be churning out weekly
animations for models....

pat slider
@stonecutter.com





Date: Wed, 15 Jan 1997 17:39:50 -0600
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Re: (partly NO) Early Chronology (sort of long)

Thanks to Linda Theil, Doris Lauinger, and Magda Plewinska for yet more
information on that "not-quite-origami-but-we-like-it-anyway" star!  *And*
two great doses of history.

The names I've collected for the Swedish star include: Christmas, Easter,
Swedish, German, Moravian, Jerusalem, Star of Bethlehem, and the
1830s reference that started it all: Rosette.  Linda, interesting you've
found the name "Moravian" describing something different, although, the
weaving can be done to look like cones instead of flat points.  You make
a really good point, that what may be offered at a museum as a
"representative" craft, may not actually have been practiced at that
location.

Doris gave us an interesting insight when she wrote the star is known
as Froebel's star in Germany.  Froebel was alive and active during the
1830s publication of the star diagrams in the U.S.  In the 1991
"Conference of Origami in Education and Therapy" (which John Smith
edited), there's a paper called "How does Paper-Folding fit into Froebel's
educational theory?" by Joachim Liebschner.  He translates the preface

"Froebel then introduces ... other 'Occupations' like paper-cutting,
*weaving of strips of paper*, weaving with string, ... etc."

My theory is that the star is older than the 1830s because it was
illustrated -- and in those days, like these days, it costs extra to have a
picture plate created or to redraw one.  For example, the 1795
trouble-wit diagrams are the *same* as the 1850 versions, but the text
was updated to reflect changes in the English language and taste in
models. Could it be we should be looking to Germany for the original
published source of these diagrams???

And finally, Martha Stuart's Living Magazine published the star, too?
Gee, she makes her own gift wrap paper, she folds/weaves stars,
when is she going to do some folding! (and I don't mean napkins)  :-}

Kristine
ktomlinson@platinum.com
Waltham, MA, USA





Date: Wed, 15 Jan 1997 22:33:16 -0500
From: Pam and/or Namir <pgraben@umich.edu>
Subject: Re:How I got started in Origami

Well, here's my little story:
So Dad went on business trips to Taiwan several times a year, and to appease
us little (around 6 and 8) whiney brats, he would bring us presents.  One such
being a thin, red hardcover book: _Origami In The Classroom_.  My sister and I
ate it up, folding all of the models in
it very quickly.  I thought this was neatest thing since sliced bread.  I can't
remember much after that, except this:  on the cover of said book was the
picture of two traditional cranes, however there were no instructions in the
     book.
This mildly irked me, as I understood that this was one of the easiest and most
popular folds the
Japanese friends showed me how to fold a crane step by step, but I couldn't
reverse engineer it back then, so I learned and then forgotten it.  Aaarrgg!
Luckily, a little while later I was wandering through the Chicago Public
Library, and stumbled into a class where a lady was teaching origami!
I hunkered down and learned all that she could tech me.  I like to think in
some small way that it might've been someone on this list.   ?

So then, being the inquisitive child I was, coupled with Christmas coming
soon, I rooted through the house to try and find the stash of presents for
my sister and I.  Well, I found it.  Among the stash was another origami
book (_Creative Origami_).  Wow!  So I waited patiently for Christmas and it
wasn't there.  Sadly, I played with my toys.

Until like a week later, when I dragged the book out and folded all the models
I could before the parents got home!  This is how I deeply broadened my
understanding of origami, with a book that big, how could I not?

Not until high school did I progress any further.  I checked out book after
book, using different papers, and folding up a storm, and most of my room was
run over with models.  The most complex I had gotten up to was Montroll's
moth.  This is the time when I learned about the importance of precision
folding.  I had _Flying Origami:From Pure Fun to True Science_ which involved
much cutting and precision landmark folds.  I meticulously measured the
placement of every fold and proportioned them to fit the paper.  My intrest
waned a little until my 3rd year in college.  For some reason (I don't know why)
I re-developed my intrest in origami and check every book there was out of
the Harold Washington Library (down the street from my college campus of
UIC) and that's when I started again for good.  I bought my first origami book
(Gay Merrill Gross's _The Art of Origami_) and found out about FOCA.
After writing to them, I found out about ChAOS and started attending meetings.
This was a big thing for me as before this moment I didn't know there were
other people who loved origami as much as I!  As I learned more about
Origami's presence in the world, I became increasingly more interested
to where I am today: insatiable in model lore and technique, and in Ann
Arbor attending AASO.

I have created one model (in another post.  This is getting freakish long),
but hold to my personal philosophy that before I can create, I must be able
to understand and fold every single complex fold out there (curse you Robert
Lang for realizing this will never happen :)  ) and also to be able to wet-fold
with the spiritualness of  Master Yoshizawa.

No matter what happens, I will always treasure all the time I spent folding
and learning about origami.
-Namir

!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-!-
Pamela Graben:     Thinking... what a concept!
Namir Gharaibeh:  "If you choose not to decide, you still have made a choice."
pgraben@umich.edu





Date: Thu, 16 Jan 1997 07:07:11 -0500 (EST)
From: DLister891@aol.com
Subject: Early Chronology (The Swedish Star)

In his contriubution of 15th January, Steve Theil writes:
"If I understand correctly, Froebel (b.1782 - d. 1852) included this fold in
his curriculum during the early eighteen hundreds"

I'm afraid that there is no justification for this statement. We know very
little of Froebel's own paperfolding. He left only one fragment on the
subject which is unillustrated and turgidly difficult to understand, although
a little light is thrown on it by comparing it with the writings of some of
his followers. However, it turns out to relate to exercises in elementary
mathematical folding and not to recreational paperfolding as we know it.
Undoubtedly, Froebel knew some of the traditional models, but, while he may
indeed have been familiar with the  "Swedish" Star, we have no evidence for
it.

There is clearly now room here to give anything like an adequate account of
Froebel and the Kindergarten movement. I hope the following notes will help
to clarify the position, although I fear they may confuse it!

Froebel did indeed encourage the use of paperfolding in the Kindegartens,
although we do not know how much of the systm was personally attributable to
him and how much to his followers. Froebelian paperfolding took three forms:
elementary mathematical foldling (Forms of Truth)folding of traditional
paperfolded representational figures (Forms of Life) and (much the most
important in the Kindergarten movement) abstract patterns formed by blintzing
and elaboration of the blintz. (Although this particular name was wholly
unknown until the 1950s). Forms of Life were not really considered creative
(because they appeared to be fixed) and were used mainly as an introoduction
to the Forms of Beautiy where the child coud exercise his creativity by
creating ever new patterns. (It is one of the tragedies of paperfolding
history that the Froebelians never discovered creative paperfolding as we
know it today.) Paper cutting and paper weaving and a whole range of other
handicrafts were also advocated in the Kindergartens. The basic activities
were called "gifts" and the secondary ones:"occupations". The idea was to
challenge and stimulate the child and to enable him (or her) to discover the
principles of (say) elementary mathematics by play. Paperfolding is variously
called a Gift or an Occupation. Perhaps the most famous of Froebel's
occupations was gardening and at his first kindergarten at Bad Blankenberg,
which he opened  in 1837, each child had his own plot to tend. Sadly the
venture failed and  Froebel opened a women's teachers' training college. By
1850, Froebel-trained teachers were spreading his ideas around Europe. The
development and spread of of the kindergarten and its ideas took place in the
second half of the 19th Century, after Froebel's own death in 1852. Most of
the detailed work was not his own, but was based firmly on his own
principles. Inevitably, however, his ideas were inevitably developed and
modified by his successors.

I have looked through all of my fairly extensive collection of copies and
extacts relatiing to Froebel and the Kinderfgarten, but I have found not one
instance of the "Swedish Star" (to give it one of its popular names).
Admittedly, my papers are angled firmly towards paperfolding and not other
activities, and I would be the last to deny  that the Swedish Star was taught
in the  Froebel Kindergartens. Paper Weaving was a popular activity (I have
seen examples of this in the museums at Bad Blankenberg and Osaka), and the
Swedish Star is a sort of weaving, so it is very possible. As the 19th
Century progressed , the Froebel kindergartens multiplied and diverged in
their practices. Other systems of child education were introduced and the
average infant school operated with a hotchpotch of systems. The Froebel
kindergarten was eventually, for the most part, merged with the general
system of child education.

In the volume of Froebel's letters there is one which mentions him as having
enjoyed paperfolding with his brother when they were young boys. Undoubtedly
there was throughout Europe at this time a widespread reserve or fund of
child activities of which paperfolding was only one. Paperfolding at that
time was not differentiated from other paper activities. In fact the very
word "Paperfolding" (or rather "Papierfalten") may well have been invented by
the Froebel movement for its activities. I think it is safe to say that the
Swedish Star was one of those traditional paper "tricks" and formed part of
this collective fund of child activities. It was not confined to any
particular region or to a particular sect or denomination but was a general
European inheritance. The only reason we don't know more about it is because
childish acivities were not considered important and were not recorded.
Froebel changed all that!

Froebel had a somewhat mystical approach to life and belief. He strongly
perceived the presence and  unity of Nature and its importance. A chils was
part of Nature, whose growth was to be tended and nurtured. (Hence, the
"Kindergarten"." Perceiving the unity of Nature, he spent much time as a
student seeking the key in the underlying and unifying presence of
mathematics in all Creation and Life..No doubt in some aspects of his beliefs
he resembled the Pietists, but he was not himself a Pietist.

To summarise, it would be wrong to attribute the Swedish Star to Froebel or
to the movement he founded. It would equally be wrong to imply that the
Swedish Star was spread by the Kindergartens. The knowlege of the Star was
much wider. However, it would also be wrong to contend that the Swedish Star
was unknown and never taught in the Kindergartens.

David Lister.

Grimsby, England.

DLister891@AOL.com





Date: Thu, 16 Jan 1997 07:53:25 -0100
From: reeds@openix.com (Reeds family)
Subject: hello

>X-Sender: mfroh@m.imap.itd.umich.edu
>Mime-Version: 1.0
>Date: Wed, 15 Jan 1997 18:32:07 -0400
>To: reeds@openix.com
>From: mfroh@umich.edu (Michael Frohlich)
>Subject: hello
>
>Dear Karen, Jim, Elizabeth and Annie,
>
>Hello!  It is amazing how rapidly time passes.  I'm now in Ann Arbor, at
>the Herbarium and bio dept.  I've physically been here since Sept.-
>previously I was in California while the lab here was being remodeled.  The
>remodeling is essentially complete, and we've been doing lab work since
>Oct.  A post doc and a grad student are working with me.
>
>I've been on leave from Union, but I've decided to relinquish that job and
>hope to stay here.  It's so much nicer it's really amazing.
>
>Many aspects of Ann Arbor are the same, but many others have changed a lot.
>There are now lots of good restuarants, and a number of good bookstores.
>The city has grown a lot.  (I live on Plymouth, near (shudder) Nixon Road.)
>The students have become amazingly young.  There are some spectacular new
>buildings, especially at the Med school.
>
>It still has the flavor of a nice smallish town.
>
>I hope all is well with you,
>
>Regards,
>
>Mike





Date: Thu, 16 Jan 1997 06:50:56 -0800 (PST)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re:How you got started in Origami

How I Got Started In Origami:

      -By Steve Woodmansee
        I got started in Origami because I have had a lifelong fascination
with paper.  Even as a child I loved going into stationery stores or the
office supplies aisle in the supermarket or 5 and dime.  So, it was only
natural that one day when visiting Chinatown I purchased an Origami 'kit'
(actually an assortment of paper and a few diagrams) just because I liked
the paper colors - I'd never heard of Origami until then.
        Later, when I was in Junior High School, I discovered Isao Honda's
"World of Origami."  I was excited and hooked for life immediately.  Within
a month or so I had made it my goal to make every model in the book, which I
did.  In fact, the school made a showcase display of my models which was
very exciting.  Unfortunately the school had only the one Origami book, and
when I went on to High School, there were none.
        I went for many years with only the Honda book (which I eventually
purchased), so naturally got *very* tired of those models.
        Imagine my delight when I first got on the internet and searched for
Origami, on the off-chance there might be some references to it 'out there'.
That was about a year ago.  I have been a folding maniac since then, and I
try to buy a new Origami book once a month, just to build my collection.
        Now I have an Origami web-site, and I would say I've raised my skill
level substantially, primarily due to the encouragement from the Origami
list members.  It's been great, thanks for asking!
 ///,        ////
 \  /,      /  >.
  \  /,   _/  /.
   \_  /_/   /.
    \__/_   <
    /<<< \_\_
   /,)^>>_._ \
   (/   \\ /\\\
        // ````
 ======((`=======

Just my $.02!

Steve Woodmansee
stevew@empnet.com
Bend, Oregon





Date: Thu, 16 Jan 1997 19:00:40 +0100
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: RE: Kittyhawk addendum...ooops

Pat,
At 17.36 15/1/1997 -0400, you wrote:

>(I must say that KittyHawk must not be valuing their Mac customers! Wonder
>why they didn't just use shockwave so everyone could access this?)

As far as I understand, Futuresplash is a VECTORIAL method whereas Shockwave
is not. This means that the files are much smaller, and the animation is
much faster. In addition, it is possible to "zoom in" the animated window
without loss of details. They claim it to be a revolution in WWW image
display and animation (and they are probably right !). Try this for some
stunning demo's

http://www.digitalcolour.com

(Sorry for the offtopic..... thought it could be useful :-)

Roberto





Date: Thu, 16 Jan 1997 13:53:14 EST
From: troy.tate@juno.com (Troy D Tate)
Subject: Re: How I Got Started in Origami (long)

Jerry,

Thanks for your insights and experiences! I hope one day to be able to
create new models also.
I have just recently returned to Origami after many years of no real
interest. I am especially glad
to see that there are so many new things to try and be amazed at all over
again.

Thanks for sharing your diagrams and efforts with the rest of us. Also,
it is your Gargoyle in Jay
Ansill's _Mythical Beings_ book isn't it? I haven't done it yet as I just
got the book recently. It
looks very well planned out and diagrammed.

Take care,

Troy
=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Seriously trying to avoid those techies
who have a "charisma-bypass".





Date: Thu, 16 Jan 1997 12:23:27 -0700
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: How I got started

My story is some what embarrassing, but here goes.
Seven years ago, I was engaged to a beautiful young woman, whom I
thought the world of.  I was looking forward to a life of bliss
with her.  Unfortunately, it turned out that there were
complexities to this woman, I was unaware of.  For reasons I will
not go into, not only did she stop the marriage, but she left my
life completely.

Needless to say, I was devastated.  I couldn't get her out of my
mind!  I thought of her 24 hours a day, and thinking of her hurt!
I had to find something to get her out of my mind!  But what ever
I did, I managed somehow to start thinking about her, and I was
driving my friends and family nuts!

But let me digress a little.  I have been mildly interested in
Origami, for as long as I can remember.  I used to entertain
children by making them flapping birds.  The other model I knew
by heart was the traditional frog.  It tickled the kids to death,
when I showed them how to inflate him, by blowing in his...
Well, anyway...  I looked at few book on Origami, and knew enough
about diagrams to know the difference between a mountain fold and
a valley fold.  But one thing dissatisfied me about these books,
most of the folds didn't really look much like the animals they
where supposed to depict.  And like most people, I pretty much
looked at Origami as tricks to entertain children.

But back to my story.  On day I was in the city library, looking
for something to divert my mind.  I decided to check out the
Origami section.  One of the books I looked at was "Folding the
Universe" by Peter Engel.  I couldn't believe it!  An octopus,
that looked like an octopus.  A six legged, bug eyed, butterfly.
A reindeer with an amazingly complex set of antlers.  Now these
models looked like animals.  Two other books I checked out were
"Origami Omnibus" and "Origami for the Connoisseur."

I took the books home and started folding right away.  Needless
to say the best models were beyond my ability.  And that Knight
on a horse!  I pretty much concluded that it was a theoretical
exercise any way.  I mean tucking all that paper in the tail?
Get real!  But it didn't matter, all the concentration needed to
fold exactly and not split the paper, kept my mind off HER!  I
folded voraciously, whenever I got the chance.  Very soon I had
models lying everywhere.  Every once in awhile my mother checked
in on me, to make sure I hadn't committed suicide, and I would
give her a paper bag, filled with models.  She would in turn take
these to a day care center where she worked, and let the children
play with them.

Well eventually, I got over her.  But I never got over Origami.
I especially liked folding Japanese foil paper.  I even conquered
Engel's knight, and I can make a really sharp looking model out
of silver foil.

When I found out about Origami-l, I just couldn't believe it.
Here was a group of people who share my passion.  An many of them
are much better than me.  You see until that time the best models
I had seen were, well..., folded by me!  It's not that I'm that
great, it's just that I was pretty isolated from my fellow
folders.  It was here that I finally got the idea of what wet-
folding is all about.  I especially like using the thick colored
calligraphy paper found in craft stores.  When it's wet it feels
like working with leather.  And it makes a nice stiff model when
dry.

Now when people admire my Origami, I like to ask them what there
favorite animal is.  Then a few days latter I present them with a
nice wet folded model of that animal.

This summer, I hope to make it to the Annual Convention in New
York City.  I hope to see how the rest of you fold.  And get some
personal feedback on the techniques the rest of you use.

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





Date: Thu, 16 Jan 1997 14:36:14 -0100
From: reeds@openix.com (Reeds family)
Subject: apologies for another misplaced message

my apologies for forwarding private mail from an old friend to the origami
list--just figured out the glitch and hope it won't happen again
Karen





Date: Thu, 16 Jan 1997 08:45:31 +0000
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Kittyhawk airplane cd

Pat Slider <slider@stonecutter.com> sez

>Now as I recall, Nick Robinson never saw a penny from his models on this CD?
>Still true?

Yup. To start with, we didn't even see any credit on the design
instructions!  Kittyhawk revised it with creator credits & (gasp) a free
copy each, but payment never seemed to enter the equation. I thought
they had absorbed the copyright ethic, but would like to know if
anything else "a bit dodgy" is going on with our work.

They also said they'd appreciate help with "any future origami
releases", but then produced the two CD's you mention without any
warning or collaboration whatsoever. Do they want the best advice around
(ie. from folders!) or just to rake in the bucks? Makes you wonder.....

all the best,

Nick Robinson

personal email  nick@cheesypeas.demon.co.uk
homepage        http://www.rpmrecords.co.uk/nick
BOS homepage    http://www.rpmrecords.co.uk/bos/
RPM homepage    http://www.rpmrecords.co.uk





Date: Thu, 16 Jan 1997 14:56:36 -0500 (EST)
From: Bill McFarland <billmcfa@clark.net>
Subject: Origami in San Francisco

I am going to San Francisco the first week in Feburary.  Could any one
tell me of origami resources there?

Thank you,
Bill

+==========================================================================+
| Bill McFarland            || A moment of thought would have shown him he |
| billmcfa@clark.net        || was wrong -- But a moment is a long time    |
| 38 50' 20" N 77 25' 40" W || and thought is a hard thing.                |
+==========================================================================+

see http://www.clark.net/pub/billmcfa for public key





Date: 16 Jan 97 13:48:18 EST
From: Valerie Vann <75070.304@CompuServe.COM>
Subject: Re: hand or 'puter? photos?

>My questions:  With digital cameras coming down in price (too expensive
>for me still), would pictures of the actual folding process, perhaps
>enhanced with mountain/valley lines, etc. be feasible?

I've done a few "photo diagrams" enhanced with lines, etc. Some
quick & dirty (very) appear on my Web pages about the Shen Dish.
Also, a few Japanese origami books recently have photo diagrams,
including some of Tomoko Fuse's. In one of the latter, striped
paper is used. In general, I still find well-done traditional
diagrams much clearer than any photo diagrams I've seen yet, even
for 3-dimensional origami models. In my opinion, the hands,
shadows, difficulty in identifying edges, etc. in photo diagrams
make them far less clear than regular diagrams for all but the
most elementary folds.

Valerie Vann
75070.304@compuserve.com
