




Date: Thu, 13 Feb 1997 04:10:16 -0400 (AST)
From: Rjlang@aol.com
Subject: Re: Card cube origins

> I'd be interested in learning
>about other references to this model that any of you may have seen,
>the older the better.

I've got a book, "Fun with Paper" by John Leeming published by Lippincott,
which describes the biz card cube as a "Puzzle Box" on p. 98. It's copyright
1939.

Robert J. Lang





Date: Thu, 13 Feb 1997 08:04:54 -0400 (AST)
From: DLister891@aol.com
Subject: Re: Papers and scissors

In a message dated 13/02/97  01:25:43, Cathy Palmer-Lister wrote on the
subject of cutting and origami:

<< OK, who's going to jump in first? >>

Well, I will, but I'll be short.

Do just as you please! it's entirely your choice: there are no Origami Police
to bring you to heel! And remember that speaking historically, many styles of
paperfolding have used cutting extensively as a matter of course. All are
part of the generic pastime of paper crafts. All are interesting in their own
right.

However, if you have decided to concentate on paperfolding without scissors,
then you have set your own rules and scissors, even if you use them for a
tiny snip, would be a breach of them.

Then again, you may make your rule: "No Scissors, except for tiny snips,
which it would be churlish to exclude if they achieve something that would be
otherwise impossible." Robert Harbin states this principle in "Paper Magic".
It's still up to you.

But do remember that Uncut Origami, with absolutely NO cuts, even the tiniest
ones, is a fascinating interest in its own right that has absorbed the
attentions of vast numbers of paperfolders, even if it is only one particular
form of papercraft.  Obviously you cannot combine cutting with uncut Origami.
It's simply a matter of definition.

David Lister.

Grimsby, England.

DLister891@AOL.com





Date: Thu, 13 Feb 1997 08:49:08 -0400 (AST)
From: Steve Theil <theil@htonline.com>
Subject: Origami-L: Brill & Fuse

Just wanna thank y'all for the repeated references to David Brill's
BRILLIANT ORIGAMI (Japan Pub., Inc., 1996).

I would have NEVER picked it up on my own  based on the cover. (I know, I'm
shallow; and I can't fold dragons!) But it is so great! My husband and I
were sitting at the kitchen counter last night after returning from Borders
and I was leafing through the book. He said, "When are you gonna wipe that
grin off your face?" (I prefer to think of my expression as an entranced
smile.)

Also snared Tomoko Fuse's UNIT ORIGAMI (Japan Pub., Inc. 1990) in the same
trip. Gotta make those "bucky balls"!

Thanks a lot,
Linda Theil
theil@htonline.com





Date: Thu, 13 Feb 1997 10:21:22 -0400 (AST)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Papers and scissors

At 08:29 AM 2/12/97 -0400, you wrote:
>How do you feel about cutting the paper with a pair of scissors (ie.
>when making a reindeer)?
>
I would not do it; it is against my *religion.*
>
>Is this an 100% accepted method in the ancient art of origami?
>
The further back in history you go in origami, the more accepted cutting
is. The *pure* approach to origami is relatively new.
>
> You ARE destroying the paper doing this, are you not?

I do not think so. Putting slits in a paper does not necessarily remove any
material. Even if it did, cutting is a much more efficient way of deriving
appendages, so it actually conserves paper. I never got into origami
because I want to save a tree; I just like the art.

Marc





Date: Thu, 13 Feb 1997 10:40:40 -0400 (AST)
From: "S.W. Nelson" <sn5@earthlink.net>
Subject: Origami-L: Linda Theil

>>Also snared Tomoko Fuse's UNIT ORIGAMI (Japan Pub., Inc. 1990) in the same
trip.<<

Hi Linda,

I'm a new member to this email list and wanted to say this particular book is
     one of my very favorites! I've been folding for 4 years. I love it!!

Rachael Nelson
sn5@earthlink.net

...Having a good supply of paper and books, is like money in the bank!....





Date: Thu, 13 Feb 1997 11:15:44 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: Origami-L: Linda Theil

Linda Theil wrote:
+>>Also snared Tomoko Fuse's UNIT ORIGAMI (Japan Pub., Inc. 1990) in the same
+trip.<<
+
Rachael Nelson wrote:
+I'm a new member to this email list and wanted to say this particular book is
+one of my very favorites! I've been folding for 4 years. I love it!!

Yep, that is _the_ book to get if you are only going to get one
unit/box/modular book!

+...Having a good supply of paper and books, is like money in the bank!....

Perhaps better stated as: ;-)

..Having a good supply of paper and books, is like having had money in the
bank!...

At least when you are addicted to the high priced, hard back, Japanese
origami books _and_ $5+/sheet specialty paper (scary thought, that paper is
beginning to seem inexpensive, aiiiiiiieeeeeeeeeeeeee!)!

-Doug "I can stop buying paper _anytime I want to_" Philips





Date: Thu, 13 Feb 1997 12:09:51 -0400 (AST)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Card cube origins

Robert answered my query:

   > I'd be interested in learning
   >about other references to this model that any of you may have seen,
   >the older the better.

   I've got a book, "Fun with Paper" by John Leeming published by Lippincott,
   which describes the biz card cube as a "Puzzle Box" on p. 98. It's copyright
   1939.

This may be the same reference that Bill Dollar showed me, but he only
gave me a copy of the diagram without any title or author information.
(Unless I lost it.)  Does this book give any references to earlier
works?  I'm sure it won't be possible to find out who actually
invented this, but I'd like to trace it back as far as possible.
(David Lister and Kristine Tomlinson have inspired me with their
astounding historical research.)

I have a rumor of a turn of the century mathematical diversions book
that shows this model, but I haven't found it yet.

        -- Jeannine Mosely





Date: Thu, 13 Feb 1997 12:25:27 -0400 (AST)
From: "S.W. Nelson" <sn5@earthlink.net>
Subject: Re: Papers and scissors

At 08:29 AM 2/12/97 -0400, you wrote:
>How do you feel about cutting the paper with a pair of scissors (ie.
>when making a reindeer)?
>
I would not do it; it is against my *religion.*
>
>Is this an 100% accepted method in the ancient art of origami?
>
The further back in history you go in origami, the more accepted cutting
is. The *pure* approach to origami is relatively new.
>
> You ARE destroying the paper doing this, are you not?

I do not think so. Putting slits in a paper does not necessarily remove any
material. Even if it did, cutting is a much more efficient way of deriving
appendages, so it actually conserves paper. I never got into origami
because I want to save a tree; I just like the art.<<<<

I often snip paper gently, to size it. However if a small slit is needed
on an edge, I simply tear..and gently.
Trees are like people. We _all will _pass on someday. It's wonderful to
extend the Life of a tree, a legacy.
I saw 2 trees cut down (because of possibly falling on a house)...
So I planted 2 saplings and sang Happy Birthday! And..decorated them
with wonderful origami balls.

Rachael<--- tree person





Date: Thu, 13 Feb 1997 12:24:06 -0400 (AST)
From: "S.W. Nelson" <sn5@earthlink.net>
Subject: Origami-L:Doug Philips

+...Having a good supply of paper and books, is like money in the bank!....

>>Perhaps better stated as: ;-)
.Having a good supply of paper and books, is like having had money in the
bank!...
At least when you are addicted to the high priced, hard back, Japanese
origami books _and_ $5+/sheet specialty paper (scary thought, that paper is
beginning to seem inexpensive, aiiiiiiieeeeeeeeeeeeee!)!<<

True so true! I've been so bad as to stop people from trashing paper,
if not retriving it from the basket myself!(oh the shame)
(searching through trash baskets for tid bits of wonderfully delicious paper)
All in the Eye of the beholder...(g)

>>-Doug "I can stop buying paper _anytime I want to_" Philips<<

uh ha...sure you can. I believe you believe.(s)

Rachael--->_Me too.





Date: Thu, 13 Feb 1997 13:19:15 -0400 (AST)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Papers and scissors

Cathy Palmer-Lister <cathypl@generation.net> sez

> Is this an 100% accepted method in the ancient art
>>of origami.

Yes!

>You ARE destroying the paper doing this, are you not?

Depends on your point of view. I don't but others do - live & let live!
How does paper become square in the first place? (rhetoric)

all the best,

Nick Robinson

personal email  nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk
BOS homepage    http://www.rpmrecords.co.uk/bos/
DART homepage   http://www.shef.ac.uk/uni/projects/oip/dart/
RPM homepage    http://www.rpmrecords.co.uk





Date: Thu, 13 Feb 1997 15:19:14 -0400 (AST)
From: troy.tate@juno.com (Troy Tate)
Subject: Re: Get a list of military technical reports on Origami

That's funny stuff! ;-}

In yesterday's (2/12) Austin (TX) American-Statesman there was an article

about a guy that has won an award from MIT for being a creative person.
One of the things the article talked about was how bellows are used in
mechanical applications. He has found a way to fold bellows from
a smaller piece of rigid plastic that makes it more efficient than
bellows made from metal. It was very interesting about how this
physicist is making practical use of accordion folds.

If you want to find out more about this fellow, the Austin American-
Statesman has searchable archives on the WWW. However, this
article won't be in the archives until tomorrow (2/14). The URL for
this site is: http://www.austin360.com/main/archive.htm. I would
imagine you might be able to search on the keywords BELLOW(s)
or MIT, inventor.

Have a great day!

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=
Seriously trying to avoid those techies
who have a "charisma-bypass".
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
troy.tate@juno.com <it's free--what can I say?>





Date: Thu, 13 Feb 1997 18:56:37 -0400 (AST)
From: OrigamiCMM@aol.com
Subject: Re: Origami-L: Brill & Fuse

In a message dated 97-02-13 07:50:08 EST, Linda Theil writes about some
books:

>> Just wanna thank y'all for the repeated references to David Brill's
> BRILLIANT ORIGAMI (Japan Pub., Inc., 1996).
>Also snared Tomoko Fuse's UNIT ORIGAMI (Japan Pub., Inc. 1990) in the same
>trip. Gotta make those "bucky balls"!

Yes, I was very pleased at myself when I picked up both of these books.  I
got UNIT ORIGAMI a few years ago, then when Brilliant Origami came out, and I
heard all these god things about it, I had to buy it!

I would also like to say that a good place that I have found to get origami
books is Borders.  They have many origami books, more than the Doubleday I
usually go to... So if anyone is looking for origami books they can't find,
and there is a Borders in their area, check it out!!

===|Chris Miller
===|OrigamiCMM@AOL.com





Date: Thu, 13 Feb 1997 21:10:03 -0400 (AST)
From: "S.W. Nelson" <sn5@earthlink.net>
Subject: military technical or Troublewit? on Origami

>>He has found a way to fold bellows from
a smaller piece of rigid plastic that makes it more efficient than
bellows made from metal. It was very interesting about how this
physicist is making practical use of accordion folds.<<

A Troublewit preformer? That's very interesting, I wonder which would
take less time to fold?..plastic or metal?
I read that Troublewit is a ordinary sheet of pleated paper. The
performer manipulates it quickly to arrive with a different object or
shapes, while telling a story to coincide with that object.(kewl)

Also, first time mentioned was in " Sports and Pastimes: or
Hocus Pocus Improved etc... published by Conyers in London 1710 .

I'm still working on Devants version...(still at my T-wits end!)
I think I'll try plastic..(g)

Rachael





Date: Thu, 13 Feb 1997 21:06:29 -0400 (AST)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Books

JESPER LARSEN wrote:
> I'm thinking of buying the following titles though (I have only seen/neard
> of these books on the Internet, so please tell me something about
> them):
> "YOSHIZAWA'S MASTERWORKS"
> "ISSEI SUPER COMPLEX ORIGAMI"
> "ORIGAMI FANTASY" (I've heard this should be great).
> The 2 volumes of "ORU MAGAZINE'S DIAGRAM COLLECTIONS"
> "ORIGAMI HEARTS" (It looks funny but is it good?).
> "3-D GEOMETRIC ORIGAMI"
> "UNIT ORIGAMI"
> "THE NEW ORIGAMI"

Well, the 'Origami Fantasy' and 'Issei Super Complex Origami' are hard.
'Yoshizawa's Masterworks' and the ORU collections are expensive.  I like
'Origami Hearts' - it is really all heart models.  Also the 'Unit
Origami'
is a great book if you are into modulars, though it is a lot of
decorative
items and not boxes.  'The New Origami' is a diverse cllection more in
line
with the two books you already have, with a variety of different types
and
difficulties of origami.

Janet Hamilton

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





Date: Thu, 13 Feb 1997 21:17:42 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Ohmu (or Oomu): Origami of Anime

On Wed, 12 Feb 1997, Jeannine Mosely wrote:

=Thank you Joseph!  That's the one I saw.  I don't remember seeing
=any others, though.  I guess that you are transliterating the name
="Oomu".  I don't know what is "right", (who, after all, would decide?)
=but in my English translation Mangas, it is always spelled "Ohmu".
=For those who don't know what this is, Ohmu is an enormous, mutated,
=arthropod, a bit like a pill bug, will lots of legs and lots of eyes
=-- a real origami challenge.

Well, there are several ways to Romanise Japanese words, so who's to say who's
right. I'm using the methods that's more popular with the Japanese themselves.
Not that it matters! 8) BTW, according to the article, Tsuda-san originally
created the Oomu with all 14 eyes, but people didn't like it for some reason,
and he simplified it to the eyeless version.

=And while we're discussing origami anime, has anyone seen or created a
=model for Totoro, the giant, lovable, forest spirit?  If you haven't
=seen "My Neighbor Totoro" and you have small children (or are one), I
=cannot recommend a kinder, gentler movie.  The "dust bunnies" or "soot
=sprites" from that movie are easy:  take a black sheet of kami and
=crumple, taking care to keep the white side in.

No, I've not, but I'm sure that someone has done it! If you can managed to
look at the back issues of the NOA magazines, you'll see many photos of
origami anime characters. No diagrams, though...

          Joseph Wu           It's your privilege as an artist to inflict
  origami@planet.datt.co.jp   the pain of creativity on yourself. We can
 Webmaster, the Origami Page  teach you how WE paint, but we can't teach
http://www.datt.co.jp/Origami you how YOU paint. There's More Than One Way
 Webmaster, DATT Japan Inc.   To Do It. Have the appropriate amount of fun.
    http://www.datt.co.jp                 --Wall, Christiansen, Schwartz





Date: Thu, 13 Feb 1997 21:44:28 -0400 (AST)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Enterprise

I was cleaning out the file cabinet drawer where I keep origami paper
and articles,
and realized that I had two copies of the Summer 1995 BARF Newsletter.
This is the
edition that contains the diagrams for the starship Enterprise, and the
crease
pattern for the Super Flasher Deluxe.  If anyone is interested, email me
privately
with your address and I'll send it.  First request I get is the winner!

Janet Hamilton

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





Date: Thu, 13 Feb 1997 23:41:48 -0400 (AST)
From: vicky@infoarch.com
Subject: PCOC & BARF websites

  PCOC & BARF websites

A grand gathering is being planned for November 7, 8 & 9 -
Peacock in San Francisco!  For the latest updates for the
Pacific Coast Origami Conference check out our website
http://www.sirius.com/~knuffke/PCOC.html   (make sure PCOC
is in caps).  We plan to add registration forms, several
peacock mascots to fold and other goodies in the weeks and
months to come.

Another item:  Jeremy Shafer wanted us to relay to all of
you that his brother has set up a BARF (Bay Area Rapid
Folder) website:  http://www.krmusic.com/barf.htm

enjoy!

vicky mihara avery
vicky@infoarch.com





Date: Fri, 14 Feb 1997 00:54:09 -0400 (AST)
From: Robert Maldonado <robertma@csufresno.edu>
Subject: Re: Enterprise

Don't think I have any hope, but here goes.....

Any luck on the BARF newsletter?

Robert D. Maldonado
Philosophy Department
CSU, Fresno
Fresno, CA 93740-0105
(209) 278-2879
(209) 278-6484 FAX
robert_maldonado@CSUFresno.edu





Date: Fri, 14 Feb 1997 08:02:30 -0400 (AST)
From: Wayne Ko <Herman_Ko@mindlink.bc.ca>
Subject: Re: Books

Here's a brief description of the mentioned books I have:

-Yoshizawa's Masterworks (which I assume is the English name for Yoshizawa's
Inochi Yutaka Na Origami) - models are on the easier side - on par with
Creative Origami and World of Origami.  Expensive, but it is by the great
master and should be of interest to all.

Issei Super Complex Origami - models are quite difficult, but absolutely
stunning - I particularly like the 2 motorcycles and the triceratops
skeleton.  I just got this book and only had time to start on the
triceratops skeleton (3 hours or so on the the head part anyways); a
challenge to fold as the instructions are in Japanese, but the diagrams are
clear enough to figure most things out. A booklet for the T Rex skeleton is
also available from the publisher (Origami House) - although I think that
someone mentioned an English version is available from the Origami Source.

3-D Geometric Origami: - modular forms for creating polyhedra.  Rather dry
unless you have an interest in this area.  You can probably find similar
material in other books.

The New Origami: - a mixture of models with varying degrees of difficulty.
Gives a good overview to the diversity of origami.  Has a bit of everything
and something for everyone.

Other books I have that I like (which are still in print, no point
mentioning things you can't get):

Any book by John Montroll (Origami Sculptures, Origami Inside Out,
Prehistoric origami etc.) - well diagrammed and easy to follow to create
medium to complex models.

Any book by Robert Lang (Origami Insects and their Kin etc.) will keep you
fiddling for hours.  Most of the models are quite complex but worth the
effort.  Lost quite a bit of sleep on some models...Arrgh!!

Brilliant Origami by David Brill - as mentioned by others, an excellent book
with a variety of models of varying difficulty.  I personally found it to be
quite inspirational.

Creating Origami by J C Nolan - this book has just been reprinted -
extremely interesting.  It not only contains an assortment of models, but it
takes the reader/folder into a journey through the creation process.  If you
are beginning to create like myself, it is a definite must have.

Gee... come to think of it, I don't think I've ever come across an origami
book I didn't like - must mean I'm an origami-freak.  You know you've
becomed an origami-freak if _______ (may make an interesting topic of
discussion).

- you respond to emails requesting help from origami-freaks
- you fight for the chance to change your child's diapers
- you're married with children and it doesn't bother you at all since you've
decided to fold your life away anyways

Wayne (What me use scissors? No way! A sharp knife - now that's a different
story...) Ko

JESPER LARSEN wrote:
>Here is some questions for all you origami-freaks out there.
[snip]
>I'm thinking of buying the following titles though (I have only seen/neard
>of these books on the Internet, so please tell me something about
[snip]





Date: Fri, 14 Feb 1997 08:41:52 -0400 (AST)
From: halgall@netverk.com.ar
Subject: Boat $ ship

Thank to all for the information about "Boat & ship".
The best for all.
Bye for naw.
Again THANKS!!!

Patricia Gallo





Date: Fri, 14 Feb 1997 08:42:11 -0400 (AST)
From: halgall@netverk.com.ar
Subject: Kusudama

Hi everyone,

I like to know the real origin and history about Kusumada,
in what year appear, and the first method for construction.

And, who many forms exist for to realize the union of zuru.
Please, send me e-mail privately.

Thanks in advance.

Patricia Gallo
halgall@netverk.com.ar





Date: Fri, 14 Feb 1997 11:26:57 -0400 (AST)
From: Mr D Cohen <dc35983@ggr.co.uk>
Subject: Re: Papers and scissors

After all the many years of debate on this, I feel that David Lister has put
things into perspective a little bit here. I think it's all about
constraints and rules, the latter especially. Whether origami is classed as
an art or craft - if it has rules, eg. no cutting, then this is some form of
constraint. Then it's into, is creativity fuelled by having constraints to
work within, eg. pureland, or no constraints, eg. anything goes :-)

I agree that there's room for everyone, and it would certainly be
interesting to hear more about that fact that cutting was much more in
evidence the further back you go.

Personally, I didn't ltake to the badges (buttons) with scissors on, crossed
through, that were being handed out a few years back.

David Cohen

dc35983.ggr.co.uk
British Origami magazine 'People, Paper & Places' columnist





Date: Fri, 14 Feb 1997 11:52:32 -0400 (AST)
From: rick@tridelta.com (Rick Bissell)
Subject: single crease method

I've seen references to the "single-crease" method of
origami in a few recent interviews that appeared in
_The Paper_ (P.Jackson and D.Brill) but I didn't see
any photos to illustrate this method.

Could someone describe this for me?  Is there truly only
one crease involved in these models?  Where could I find
photos or diagrams of this method?

PS: I can't easily access any Web sites -- sorry :-(

   -- Rick





Date: Fri, 14 Feb 1997 11:55:45 -0400 (AST)
From: reeds@openix.com (Reeds family)
Subject: Re: Papers and scissors

>
>Personally, I didn't ltake to the badges (buttons) with scissors on, crossed
>through, that were being handed out a few years back.
>
>David Cohen
>

 When I worked at a publishing house, my editor in chief loved my T-shirt
with the No Scissors emblem. It tickled her that an editor who delighted in
cutting manuscripts  would wear such a logo. When I wear the T-shirt around
town, I've had several people ask me what the No Scissors  signifies--makes
a good-humored opportunity to campaign for all forms of origami .

Karen
reeds@openix.com





Date: Fri, 14 Feb 1997 12:18:06 -0400 (AST)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Papers and scissors

   >
   >Personally, I didn't ltake to the badges (buttons) with scissors on, crossed
   >through, that were being handed out a few years back.
   >
   >David Cohen
   >

    When I worked at a publishing house, my editor in chief loved my T-shirt
   with the No Scissors emblem. It tickled her that an editor who delighted in
   cutting manuscripts  would wear such a logo. When I wear the T-shirt around
   town, I've had several people ask me what the No Scissors  signifies--makes
   a good-humored opportunity to campaign for all forms of origami .

   Karen
   reeds@openix.com

As befits an ardent modularist, I used to have a T-shirt (hand
painted) that showed scissors, a bottle of glue and a roll of tape
crossed out.

        -- Jeannine Mosely





Date: Fri, 14 Feb 1997 12:14:39 -0400 (AST)
From: Stephen Blackman <s.blackman@cranfield.ac.uk>
Subject: Origami House

Could somebody please provide me with the address for Origami House, the
publishers of Origami Fantasy and Issei Super Complex Origami?

Regards

Stephen Blackman
Cranfield University, UK





Date: Fri, 14 Feb 1997 12:33:42 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Creasing tools...

Rick Bissell recently wrote to ask about Paul Jackson and company's
single crease models, which, along with the recent thread about scissors,
brings up a topic that I think hasn't been discussed too recently! ;-)

That topic is creasing tools.

As the use of scissors is a religious issue as much as what shape to start
your paper from, I am not interested in debating whether using tools to
make creases is PURE or not.  As recently stated here, there are no origami
police, so I'm willing to live and let live.

What I am looking for is a head start on the search to find a tool to
precrease with.  I have a 1/16" burnishing tool, but even that size is a bit
bulky.  I know that Tom Hull reported that at the 2nd Int'l conference on
origami in science and technology (I think that is the name, or close to it),
there was a folder there who did some pretty amazing geometrics, but used
tools to make the creases.

The curved creases that are most often associated with "one crease" folding
are probably most easily created with a tool.  I seem to recall that a recent
issue of ORU had a model diagram printed on "tear out" paper, with the single
spiralling crease line printed, all you had to do was fold a radial pleat and
crease along the printed line.  Of course that is just a starting point.  And
I have done such a thing by hand.  For the curious, my interest is that I find
such things amazingly tedious, but I am willing to use a tool to speed up the
folding process.  My personal philosophy is that if I can do it by folding
alone, then using a tool is merely an optimization, not a completely new
thing.  Just as I cut out hexagons rather than folding them (though I can do
that if needed).  But that is just my personal philosophy, for those wondering
why I am asking, and I do not state it as a form either of defense or
provocation...

Thanks!

        -Doug





Date: Fri, 14 Feb 1997 13:44:17 -0400 (AST)
From: Pat Slider <slider@stonecutter.com>
Subject: RE: buying paper

-Doug "I can stop buying paper _anytime I want to_" Philips wrote:

>..Having a good supply of paper and books, is like having had money in the
>bank!...

>At least when you are addicted to the high priced, hard back, Japanese
>origami books _and_ $5+/sheet specialty paper (scary thought, that paper is
>beginning to seem inexpensive, aiiiiiiieeeeeeeeeeeeee!)!

But that is inexpensive :->! I've had some momigami from Kinokuniya on my
wish list for about a year now. $14 for a 2' x 3' sheet! And then I don't
think I've ever bought washi for less than $10 a sheet (except when Bren of
Fascinating Folds was selling the sheets she trimmed samples from....).

Maybe I should take this opportunity to ask here what success/failures
people have had folding momigami? It is definitely a beautiful paper in some
amazing colors!

By the way, Kinokuniya does offer a sample book of their specialty papers. I
think you have to ask for it though as they are kept behind the counter.
Someone gave it to me as a present, but I know it costs about $10. But
beware, this gives you the ability to mail-order :->.

pat slider
slider@stonecutter.com





Date: Fri, 14 Feb 1997 15:52:57 -0400 (AST)
From: John Smith <jon.pure@paston.co.uk>
Subject: Re: single crease method

At 11:52 AM 2/14/97 -0400, you wrote:
>I've seen references to the "single-crease" method of
>origami in a few recent interviews that appeared in
>_The Paper_ (P.Jackson and D.Brill) but I didn't see
>any photos to illustrate this method.
>
Paul Jackson has written an excellent account of one crease Origami in the
BOS magazine No. 173 for August 1995. I give a few of his observations.

In his article Paul says that "one crease" challenges the traditional notion
that Origami is the making of a number of creases  in a defined sequence to
create what is termed "a model". That is, an easily recognisable
representation of an easily recognisable form (animal, box, etc).

One crease substitutes an alternative set of values which many people have
found to be more deeply satisfying than those offered by the traditional
model - making experience'

Paul goes on to point out the characteristics of one crease compared with
model - making Origami, for example, one crease uses one crease, or maybe
two. It will have an abstract form of curved planes with no particular
folding sequence, there is spontaneous placement of a crease using intuition
in a rich simplicity and in a search for beauty.

Paul has drawn some broad conclusions:
1. for design students, one crease effectively introduces the notion that
folding is beautiful, creative, immediate, and rewarding and that it need
not be based on model - making techniques.
2 For professional designers, one crease introduces economical way to create
3 D forms from sheets.
3 For model - making Origami enthusiasts, one crease offers a radical
alternative which many find deeply rewarding.

I do recommend you to read the article and if you ever have the chance to
attend one of Paul's teaching sessions where he introduces and encourages
folders to experiment with one crease concepts.

John.
John Smith
Norwich
England
e-mail  jon.pure@paston.co.uk





Date: Fri, 14 Feb 1997 17:10:08 -0400 (AST)
From: Doug Philips <dwp+@transarc.com>
Subject: Re: buying paper

Pat Slider wrote:

+>At least when you are addicted to the high priced, hard back, Japanese
+>origami books _and_ $5+/sheet specialty paper (scary thought, that paper is
+>beginning to seem inexpensive, aiiiiiiieeeeeeeeeeeeee!)!
+
+But that is inexpensive :->! I've had some momigami from Kinokuniya on my
+wish list for about a year now. $14 for a 2' x 3' sheet! And then I don't
+think I've ever bought washi for less than $10 a sheet ...

Aha!  Well, I see I am still in the early stages of my affliction!

+By the way, Kinokuniya does offer a sample book of their specialty papers. I
+think you have to ask for it though as they are kept behind the counter.
+Someone gave it to me as a present, but I know it costs about $10. But
+beware, this gives you the ability to mail-order :->.

Fascinating Folds also sells a samples book.  As you note, very dangerous!
I'm still waiting for colored glassine though...

And I know Chris Palmer, Jeremy Shafer and Tom Hull get it from
somewhere, but last I spoke with FF they hadn't gotten that info out of
them... yet!  ;-)

-Doug





Date: Fri, 14 Feb 1997 17:49:42 -0400 (AST)
From: chall@scsn.net (Carol Hall)
Subject: Re: Creasing tools...

>That topic is creasing tools.
>
>What I am looking for is a head start on the search to find a tool to
>precrease with.

These are various creasing tools that I have found useful in various situations:

-bone folder  A burnishing tool associated with bookbinding which is blunt
on one end and pointed on the other.  Perhaps the standard origami creasing
tool, actually made of bone (might as well use the entire cow) but as such
is subject to nicks and scratches.  Bone folders can be hard to find in
stores but are always available through OUSA.

-any of a variety of pottery tools used for shaping wet clay while on the
wheel. These can be found almost round to very sharp and pointed and are
made from wood, metal, plastic, etc.  A variety is now sold for use with
polymer clay (Sculpey, Fimo, etc) and can be found in craft stores which
don't carry pottery supplies.

-the side of a pen or pencil

-the edge of a penny or any coin with a smooth edge

-the ever-present back of the thumbnail

-any other material which is relatively firm and smooth, including the waste
plastic punched out of milk gallon handles, the round side of keys, finger
picks for stringed instruments, "finger pick" thimbles from the
sewing/quilting supplies counter, etc.  (I usually find that plastic tools
are less satisfactory than harder materials, but others disagree.)

-for the "unpure":) don't forget the possibility of scoring a line before
folding it, or of starting the fold over a straight edge or french curve
before finishing the crease the old-fashioned way.

One note to keep in mind: sometimes when you can't seem to find something
small and fine enough, the solution instead lies in using something larger
than you would ever suspect.  Try going to the other extreme.

Carol Hall
chall@scsn.net
South Carolina USA





Date: Fri, 14 Feb 1997 21:24:24 -0400 (AST)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: military technical or Troublewit? on Origami

Rachael,

At 21.10 13/2/1997 -0400, you wrote:

>I read that Troublewit is a ordinary sheet of pleated paper. The
>performer manipulates it quickly to arrive with a different object or
>shapes, while telling a story to coincide with that object.(kewl)
>
>Also, first time mentioned was in " Sports and Pastimes: or
>Hocus Pocus Improved etc... published by Conyers in London 1710 .

In 1984, I wrote an article on Troublewit in my "History of Origami"
(C.D.O., Quadrato Magico n. 10). Previous research with the help of Vicente
Palacios and Jacques Justin led me to ascertain what follows:

1) "Hocus Pocus etc." has no date. 1710 is tentatively attributed by Trevor
Hall in "A bibliography of books on conjuring in English from 1580 to 1850".

2) The first dated book featuring the Troublewit is "Recreations
mathematiques et physiques" (Mathematical and physical recreations), a very
famous French book by Jacques Ozanam, aimed at amusing and surprising the
reader with a mixture of "science", conjuring and magic.

3) No mention of the Troublewit is given in the first editions of this book
(1694, 1696 and 1700, in two volumes)

4) Following editions in four volumes feature the Troublewit, with a long
list of "objects" that can be produced by skillful manipulation. The most
ancient I know is dated 1725 (National Library, Paris)

5) The Spanish version of the Troublewit (reproduced from Ozanam's) appears
in "Enganos a ojos vistas" by Pablo Minguet (1733)

6) The Italian version is in "I giuochi numerici" by Giuseppe Antonio
Alberti (1747)

7) All three books were so popular as to be reprinted several times, up to
the second half of '800. However, in Ozanam's book the chapter on conjuring
was replaced by one of "scientific experiments" starting from the 1778
edition (Illuministic age !)

8) A modern description of Troublewit performing is given, for instance, in
"El Mundo de Papel" by Nemesio Montero (1937), and in some books on magic
like "Pleated paper-folding" by Eric Hawkesworth. I have even been lucky to
see it being performed by Akira Yoshizawa himself, during his visit to Italy
in 1983 !

9) Troublewit techniques are applied by Shuzo Fujimoto in the construction
of complex geometrical shapes, published in one of his books. A further
applications is decorative lampshades, both commercial (e.g. the Danish firm
"Le Klimt") and DIY (e.g. B. Schlusser, "Lampen aus Papier", Brunnen-Reihe
14, Christophorus Verlag 1969)

Happy folding !

Roberto





Date: Fri, 14 Feb 1997 21:34:13 -0400 (AST)
From: tabitha@bws.bws.com (tabitha c. whiteside)
Subject: Valentine's day

Just mailing to say Happy Valentine's Day.  Bye,
-Tabitha  :-)





Date: Fri, 14 Feb 1997 22:35:57 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Origami House

On Fri, 14 Feb 1997, Stephen Blackman wrote:

=Could somebody please provide me with the address for Origami House, the
=publishers of Origami Fantasy and Issei Super Complex Origami?

Good thing you asked, because they've moved recently.

Gallery Origami House
Asahi Mansion 2F
1-33-8-216 Hakusan
Bunkyo-ku Tokyo 112
hours: 10am - 6pm, Monday to Saturday

Current exhibit: works from Yoshino's "Issei Super Complex Origami"

          Joseph Wu           It's your privilege as an artist to inflict
  origami@planet.datt.co.jp   the pain of creativity on yourself. We can
 Webmaster, the Origami Page  teach you how WE paint, but we can't teach
http://www.datt.co.jp/Origami you how YOU paint. There's More Than One Way
 Webmaster, DATT Japan Inc.   To Do It. Have the appropriate amount of fun.
    http://www.datt.co.jp                 --Wall, Christiansen, Schwartz





Date: Fri, 14 Feb 1997 22:52:07 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Creasing tools... (and single-crease folding)

On Fri, 14 Feb 1997, Doug Philips wrote:

=What I am looking for is a head start on the search to find a tool to
=precrease with.  I have a 1/16" burnishing tool, but even that size is a bit
=bulky.  I know that Tom Hull reported that at the 2nd Int'l conference on
=origami in science and technology (I think that is the name, or close to it),
=there was a folder there who did some pretty amazing geometrics, but used
=tools to make the creases.

Personally, I prefer to work by hand if at all possible. For really heavy
paper, I will sometimes use the side of my Swiss Army knife to help me to get
the crease flat.

=The curved creases that are most often associated with "one crease" folding
=are probably most easily created with a tool.  I seem to recall that a recent
=issue of ORU had a model diagram printed on "tear out" paper, with the single
=spiralling crease line printed, all you had to do was fold a radial pleat and
=crease along the printed line.  Of course that is just a starting point.  And
=I have done such a thing by hand.  For the curious, my interest is that I find
=such things amazingly tedious, but I am willing to use a tool to speed up the
=folding process.  My personal philosophy is that if I can do it by folding
=alone, then using a tool is merely an optimization, not a completely new
=thing.  Just as I cut out hexagons rather than folding them (though I can do
=that if needed).  But that is just my personal philosophy, for those wondering
=why I am asking, and I do not state it as a form either of defense or
=provocation...

Ah, but curved creases are not necessary for one crease folding. The simplest
one crease exercise that Paul Jackson showed me involves curved surfaces, yes,
but not curved creases. Here's how to do it: fold a square in half,
side-to-side (or "book fold" if you like the OrigamiUSA terminology). Open up
the crease, but don't flatten it. Place the paper on the table so that the
crease sticks up from the surface (i.e., it is a mountain crease). Press down
on the middle of the crease so that it buckles, then bring the two ends of
that crease together, forming a double-cone structure. If you like, you can
bring those two end points past each other, forming tighter cones. Then (and
this is a cheat to make it all hold together) pinch the tip of the cones flat,
and fold it over to one side. The entire structure will now be "stable" and
you can stand it up however you like. Look at it from various angles, and
under various lighting conditions.

          Joseph Wu           It's your privilege as an artist to inflict
  origami@planet.datt.co.jp   the pain of creativity on yourself. We can
 Webmaster, the Origami Page  teach you how WE paint, but we can't teach
http://www.datt.co.jp/Origami you how YOU paint. There's More Than One Way
 Webmaster, DATT Japan Inc.   To Do It. Have the appropriate amount of fun.
    http://www.datt.co.jp                 --Wall, Christiansen, Schwartz





Date: Fri, 14 Feb 1997 23:07:40 -0400 (AST)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Enterprise

All,

My extra BARF issue with the Enterprise diagram has been claimed.  I
have sent private email to the lucky person.  For anyone else
interested, check out the BARF website for back issue and ordering info
at

http://www.krmusic.com/barf/bakissu.htm

The Summer '95 issue has the Enterprise diagrams.

All back issues are available to members at $2 each (March is$5) plus $2
paostage and handling ($3 overseas), and to nonmembers at $4 each (March
is $10).
Please make checks payable to Jeremy Shafer and send any back issue or
membership orders to:

BARF
Jeremy Shafer
1744 Virginia St.
Berkeley, CA 94703 USA

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





Date: Fri, 14 Feb 1997 23:23:32 -0400 (AST)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Momigami (was: RE: buying paper)

On Fri, 14 Feb 1997, Pat Slider wrote:

=3DMaybe I should take this opportunity to ask here what success/failures
=3Dpeople have had folding momigami? It is definitely a beautiful paper in =
some
=3Damazing colors!

Momigami is not really made for folding, but for making clothing. Here's th=
e
excerpt from "A Handbook on the Art of Washi":

Momigami=20
    Thick, high-quality kozo paper often treated with the root of
    konnyaku (devil=92s tongue) and crumpled, rubbed, and stretched.
    used for kamiko (paper clothing).=20

It's soft and pliable and does not hold a crease well. I think that it woul=
d
be better worked if you wet-folded it with a lot of methyl cellulose in the
water. Konnyaku, BTW, is the gelling agent that is used to make those littl=
e
Japanese jelly treats.

          Joseph Wu           It's your privilege as an artist to inflict
  origami@planet.datt.co.jp   the pain of creativity on yourself. We can
 Webmaster, the Origami Page  teach you how WE paint, but we can't teach
http://www.datt.co.jp/Origami you how YOU paint. There's More Than One Way
 Webmaster, DATT Japan Inc.   To Do It. Have the appropriate amount of fun.
    http://www.datt.co.jp                 --Wall, Christiansen, Schwartz





Date: Fri, 14 Feb 1997 23:27:46 -0400 (AST)
From: Mark Morden <marmonk@eskimo.com>
Subject: Contacting Gay Merrill Gross

Is Gay Merrill Gross a member of this list, or does anyone know how to
contact her through e-mail.  Please contact me directly.  Thank you.

Mark

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





Date: Sat, 15 Feb 1997 01:02:53 -0400 (AST)
From: HMoor92949@aol.com
Subject: Re: buying paper

John mentioned _The Paper_( Paul Jackson and D. Brill) - I attended Paul's
class at the Southeastern Origami Festival in Charlotte,  NC last year and
was fascinated with his philosophy of folding. I would like to see the
article. Where can I get a copy? Also, what books has Paul had published?

Howard Moore, Jr.
e-mail hmoor92949@aol.com





Date: Sat, 15 Feb 1997 01:15:43 -0400 (AST)
From: hull@MATH.URI.EDU
Subject: Re: Creasing tools... (and single-crease folding)

Douggie write,

=What I am looking for is a head start on the search to find a tool to
=precrease with.  I have a 1/16" burnishing tool, but even that size is a bit
=bulky.  I know that Tom Hull reported that at the 2nd Int'l conference on
=origami in science and technology (I think that is the name, or close to it),
=there was a folder there who did some pretty amazing geometrics, but used
=tools to make the creases.

The person you're refering to is Paulo Barreto of Holland.  As far as
I know, he uses a fine-tipped metal point to make his precreases.  Chris
Palmer once gave me one of these things, and it works very well!  You
can literally "draw" your creases in the paper, provided the paper
isn't too thick.  I'm not sure where you would find such a thing.
Perhaps an art supply or hardward store.  Try asking for super-fine metal
awls.

Before I was given this awl, I was using ballpoint pens to make precreases.
(Note, I don't do this very often, but for some origami tesselations
it's *much* easier to just carve the crease pattern in the paper first.)
I would blow all the ink out of a ballpoint pen, and then use this
to draw my creases into the paper.  I found it worked quite well, even on
glassine.

---------- Tom "I'll try anything" Hull





Date: Sat, 15 Feb 1997 03:59:17 -0400 (AST)
From: AnToi@aol.com
Subject: Re: Books

For an ultra-challenge, check out Roberg Lang's Origami Insects and their
Kin. John Montroll has several interesting books, also. Tomoko Fuse's
Multidimensional Origami is wonderful book for those interested in
experimenting with geometry and design.





Date: Sat, 15 Feb 1997 07:12:05 -0400 (AST)
From: DLister891@aol.com
Subject: Cutting in Paperfolding in the Past.

A BRIEF SURVEY OF CUTTING IN PAPERFOLDING.

One or two people have asked for more evidence to illustrate the suggestion
that cutting in Origami was more prevalent in the past that at the present,
or even that the further back you go, so cutting increases. I feel that I
must give some answer to this query, before the subject goes cold. However,
to deal with it adequately would require some time to be spent on research
and I simply do not have any spare time at present. I will, therefore give a
reply off the top of my head with a caveat that everything should be checked
before being taken as gospel truth.

I do not know who may have stated this proposition that the further back in
time you go, so cutting increases. It is true that there was more cutting in
the past, because the present-day  fascination with uncut paperfolding  is a
recent phenomenon. In the past, people were quite content to accept the idea
of "papercrafts" as a whole, encompassing both cut and uncut origami and
cutting techniques, such as Kirigami as well. Let us look at a few historical
aspects.

1.  One of the earliest instances of decorative paperwork is in the
zig-zagged white paper hangings called O-shide which are still used to
decorate Shinto temples in Japan. There are similar smaller ornaments used in
Shinto ceremonies called "gohei" and other names. They date probably from the
Heian period  (782 - 1185). O-shide depend heavily on cutting and although
they involve folding as well, they scarcely qualify as "Paperfolding" in any
ordinary sense of the word.

2.  The Heian period also saw the widespread development of pleated
ceremonial paper wrappers known as "tsutsumi", of which the present-day
betrothal wrappers still sometimes exchanged in Japan and also noshi are
survivals. This was a secular, not a religious development and there were
several schools of the art with different styles. Tsutsumi were, however,
invariably uncut . Tsutsumi were not related to recreational paperfolding.

3.  The earliest paperfoldings of which we have evidence in any way
resembling our present day recreational origami were the Mecho and Ocho
butterflies used in Shinto wedding ceremonies. They too, appear to date from
the Heian Period (which, I must point out, lasted for four hundred years and
is therefore only a vague point of reference).. The butterflies seem to have
developed from a  paper cover placed over the neck of a sake cup, which has
then been pleated to make it tidy. This results in something like a
"waterbomb" base and the Ocho and Mecho butterflies are developed from the
waterbomb base or something similar. There is no set form of them - examples
vary in form and elaboration, but the majority of them (perhaps all ) are
uncut.

4.  Although there are suggestions that recreational paperfolding in Japan
began in the Muromachi period (1333 - 1568)  (another long period of two
hundred years) I have seen no firm evidence so far  The first firm evidence
of recreational paperfolding comes after 1600, as amply demonstrated by Mr
Takagi in his book. The models he has traced are the classic crane, boats,
containers and simple human figures. They are similar to figures know today
and as far as I can see, they do not involve cutting.

5.  The first two documents recording recreational origami are the Sembazuro
Orikata (which is a printed book) and the Chushingura Orikata (which is a
printed sheet), both of which date from 1797. As everyone knows , the
Sembazyra Orikata is a specialised work in which a sheet of paper is cut into
various combinations of smaller squares linked at the corners, from which
linked sets of large and small classic cranes are folded. Obviously the basic
subdivision of the square involves cutting, but this is merely a preliminary.
The individual cranes are uncut.

6   Th Chushingura Orikata gives instructions for the  folding a a whole
series of human figures, sitting, standing and running. It was a style of
folding that continued to be prevalent throughout the 19th Century. The
models in the Chushingura Orikata are heavily cut, usually starting from
heavily incised squares or diamond shaped pieces of paper.

7.   The Kayaragusa or Kan notmado, which is a hand-drawn manuscript dates
from about 1850, but the figures from it are thought to have originated in
the same school as the Sembazuru Orikata and Chushingura Orikata. It also
includes many examples of Tsutsumi wrappers. Once more  the recreational
figures in it are very heavily cut, starting from incised bases. There is no
prejudice against cutting whatsoever in this historical classic of
paperfolding.

8.   The Kayaragusa contains several sitting figures of the Emperor and
Empress, which were popular in the 19th Century and which are still used for
displays of dolls in the traditional Girls' Festival. The ones in Kayaragusa
are heavily cut. Later ones are less so, but a common characteristic of such
sitting dolls is that the point which becomes the head is threaded up through
a slit in the body of the paper.

9.. Kosho Uchiyama has recalled that his grandmother was an accomplished
paperfolder. Her collection of folds was lost in an earthquake and an air
raid, but he has said that her folding was the same as in Kayaragusa. It was
obviously a fairly widespread style of folding, which appears to have run
parallel with the simpler children's style of folding, which used cutting far
less.

10   Kosho Uchiyama's father, Michio Uchiyama was also a paperfolder, who
produced several books on the subject. A book of his folds was published in
1931 under the title of "Origami Kyo Hon" by Mizuhiro Shiki. It is largely a
collection of figures in the Chushingura tradition, using extensive cuts.
Michio Uchiyama later  developed a particular style of folding which used
very heavy incisions into the paper, more complicated than in  Chushingura
Orikata or Kayaragusa. He said that this enabled the paper to be folded with
the least wastage of paper. The style is known as "Kirikomi Origami". He
published  book in this style, although I do not have the date of it
immediately to hand

11.   Kosho Uchiyama, himself began by using fairly frequent cutting, as in
his "Origami Zukan" (1958), but in his later books the amount of cutting was
reduced, no doubt in response to the prevailing prejudice against origami
with cuts.

12.    Akiraa Yoshizawa  rarely, if ever uses cuts: perhaps once or twice,
for something like a prawn's feelers. He does however, often create his
models from two separate squares:  are they a rectangle cut into two?

13.  On the other hand Isao Honda, whose models often appear to be derived
from those of Yoshizawa frequently introduces small cuts to form appendages
of an animal or to achieve moves which Yoshizawa manages without cuts.

14.  Although most of the classic recreational folds in Japan do not use
cutting, it should be remembered that books of origami  for very young
children often contain figures which arc heavily and blatantly cut to shape,
such as birds, animals and flowers.

15.  The making of paper dolls is an ancient craft, which is separate from
paperfolding. Some of its products, such as a magnificent series by Tohie
Takahama sometimes resemble paperfolded models, but they are really entirely
distinct.

16.   The number of models familiar in Western paperfolding is not nearly as
great as those recorded in Japan. Our boats, hats, gliders and boxes are,
however, for the most part uncut and it cannot be said that there has ever
been a tradition of cut paperfolding in the West. This does not mean to say
that there have not been instances of cutting, usually to create animals'
appendages, but there have been no instances of anything like "Kirikomi"
origami. We also have our own tradition of paper cutting, but that is
something quite separate. Even in the West, however, the distinction between
uncut paperfolding and other papercrafts has been slow to develop in people's
perceptions. Typically, in the 19th century and even as late as the 1940s
(Joseph Leeming's books, e.g. "Fun with Paper", (1939)) paper folding,
cutting , modelling and paper tricks were al run together as part of the same
complex of crafts.

17   When Robert Harbin came to write "Paper Magic" in 1956, he tried so set
down rules for folding: \"(1)  The paper model must be achieved by folding
only, without the aid of scissors and glue."  But he added: "As with all
rules, certain exceptions have already been acknowledged. There are standard
models in existence which, with a small scissors snip, become so perfect in
appearance that the end is held to justify the means. The models of the
Elephant and the pack mule (pages 57 and 58) are examples of this. ".The two
models he refers to were fairly recent models, which shows that cutting was
still not anathema at that time.

18.  Robert Harbin wrote before the modern movement for Creative paperfolding
got under way in the West. Since he wrote, the popularity of uncut origami
has greatly increased to the exclusion of paperfolding using cutting. But not
entirely so. People frequently feel compelled to ask whether or not cutting
is permissible.

19   The position in Japan today, among creative paperfolders, seems to be
much the same as it is in the West , although I cannot think that there are
not specialist paperfolders around who devote themselves to the older cut
origami styles .

This, then is a rapid summary. I am sorry its confusion and  for the length
to which it has grown, but I also apologise for its inadequacies. I am sure
that it contains many inaccuracies, not to speak of awful gaffs., but, as I
often say, half a loaf is better than none and I hope that this note begins
to answer the questions that some of our subscribers have been asking.

David Lister,

Grimsby, England.

DLister891@AOL.com





Date: Sat, 15 Feb 1997 10:38:40 -0400 (AST)
From: DLister891@aol.com
Subject: Re: Single Crease Folding in its Context.

On 14th, February, John Smith wrote:

"In his article Paul says that "one crease" challenges the traditional notion
 that Origami is the making of a number of creases  in a defined sequence to
 create what is termed "a model". That is, an easily recognisable
 representation of an easily recognisable form (animal, box, etc)"

As I see it, the only challenge is towards those people whose concept of
"Origami" is its limitation to following a routine set of creases to form a
model. The landscape is much, much wider than that.

When I first began to consider the definition of "Origami" some thirty years
ago, I imagined that on the one hand there was a definable subject called
 "Origami", which I saw as the folding and refolding of paper to create
model, and that on the other handthere were other, SEPARATE and somehow
different sorts of paperfolding. Among the latter I included mathematical
paperfolding, concertina folding, troublewit and perhaps also napkin folding,
although napkin folding in the modern sense of the term seemed to me to
approximate closely to hard-core paperfolding.

As the years have passed by, my horzons have widened and I have added other
kinds of folding, including modular folding, multiple-piece folding, folding
using curved creases, Jacksonian folding, "Curio" folding and one-crease
folding. I have added the different styles of cut-and-fold origami of Japan,
the folding of  tsutsumi, O-shide and many other styles. I have explored the
interaction of folding and cutting in such styles as "Kirigami". Mathematical
folding has expanded far beyond the simple illustration of Euclid's theorems
into advanced and abstruse mathematics and mathematical applications. I have
also learnt how folding applies in the unfolding of the leaves and flowers of
plants. Folding has even been applied to complicated mechanical structures
and to the erection of buildings.

I have seen the folding process extended beyond paper to cloth, to leather,
to paper-backed foil, to simple foil, to sheet metal, to plastic and to
leather.

Now, I realise that it is easy to get carried away and lose sight of the fact
that folding starts with paper, but I now prefer to look upon this whole
complex as just "FOLDING" in its multifarious aspects. This vast subject
holds a fascination which I never remotely imagined when I folded my first
flapping bird.

How I would define "Folding"? I have no idea. But whatever my definition, I
should not want to write into it barriers that would limit in any way the
future expansion of this incredible world of FOLDING. May FOLDING continue to
unfold before our astonished gaze.

David Lister,

Grimsby, England.

DLister891@AOL.com





Date: Sat, 15 Feb 1997 13:07:07 -0400 (AST)
From: Valerie Vann <75070.304@compuserve.com>
Subject: OUSA Magazine The Paper

There was mention recently that someone had already
gotten the latest issue of the OUSA Society magazine/newsletter
("The Paper") about a week ago?

My membership is current and I'm paying extra for first class
mail, but I've not received anything. Any other west coast
members get theirs?

Valerie Vann
75070.304@compuserve.com





Date: Sat, 15 Feb 1997 13:50:46 -0400 (AST)
From: woodrich@juno.com (arnold c woodrich, jr)
Subject: Re: Contacting Gay Merrill Gross

What's the one about praying in one's closet? What happened to modesty in
personal religion? ACW
