




Date: Thu, 03 Jul 1997 00:17:53 -0300 (ADT)
From: Lonnie Riley <lonnier@mincom.com>
Subject: RE: Robert Lang's Email Address

Could someone please email me Robert lang's email address. I would like
to contact him with regards his latest book.

Lonnie Riley
lonnier@mincom.com





Date: Thu, 03 Jul 1997 00:21:03 -0300 (ADT)
From: Ronnie White <ronew@mindspring.com>
Subject: Re: Kawahata's Dinosaurs.

At 02:24 PM 7/2/97 -0300, you wrote:
>Hello Everyone,
>
>       I read somewhere that Kawahata had a T-rex with teeth? Is that model
     found
in the book "Dinosaur
>Origami"? And are the models from the book made from one piece of paper?
Thanks!
>
>Regards,
>Teik.
>
>
Kawahata's  T-rex is in his book titled "Origami Fantasy". The book can be
purshased from Sasuga Japanese Bookstore. It is a japanese book and a little
pricey, about $45.00, but it is a hard cover book and has some other very
detailed dinosaurs plus a great unicorn and pegasus.
Ron White
ronew@mindspring.com

"Never underestimate the incredible destructive power of origami"

                                                  Earthworm Jim





Date: Thu, 03 Jul 1997 00:24:25 -0300 (ADT)
From: Ronnie White <ronew@mindspring.com>
Subject: Re: Viva Origami Q

At 09:20 AM 7/2/97 -0300, you wrote:
>So I just got my latest catalog of origami books from Sasuga!
>In it, they have a book called Viva Origami Series #5:Origami Yumentai.
>Critical info:
>Kasahara, Kunihiko [Sanrio] hardcover 1992 176 pp. isbn 4-387-92011-4
>$48.00, in Japanese.  It says models by Kasahara (but not Jun), and
>rellies heavily on text with it's complex models.
>
>
>I was about to get all excited, but had some questions:
>
>I was under the impression the the Viva Origami with Jun's demon on the
>cover has ceased publication.  Is this true?
>
>Is this that book, or is it new?
>
>If it is new, has anyone gotten it and would care to comment on it?
>
>Thanks...Namir

Judy at Sasuga told me that Viva Origami is a series of books, but the one
you are wanting with the Demon on the cover is out of print. I have also
been trying to find a copy of this book with no luck. If anyone has a copy
for sale please e-mail me.
Ron White
ronew@mindspring.com

"Never underestimate the incredible destructive power of origami"

                                                  Earthworm Jim





Date: Thu, 03 Jul 1997 00:27:54 -0300 (ADT)
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: Re: Are complex models sculpturesque?

Marc Kirschenbaum wrote:
>

> I think the original point of my question was lost. Amongs origamists, we
> will each have our preferences for either the more simplistic (my
> preference), or the more ornate. This is fine; I am more interested in if
> the non-origamist would mistake an origami work for something else, on
> account of it's complexity. Could  you imagine a paintins so realistic, it
> would be thought to be a photograph? While the pure aesthictic merits would
> still be intact, the viewer might not be able to appreciate the incredible
> technique that is involed to produce such a work. The same is true for
> origai (as with all artistic forms). The art is appreciated on many levels,
> most notably from an aesthetic, as well as a tecnical point of view.
>

I believe its always truth that to really appreciate any form of art on
a technical level you have to have at least tried to creates some of
your own.  To really appreciate the brush strokes in a painting, you
have to have attempted make some kind of brush strokes yourself.  So
only people who actually fold are going to be able to appreciate origami
on a technical level.  But that doesn't mean people in the public can't
appreciate our work.  You don't have to understand guitar chords to
appreciate a folk singer.

Personally, I prefer origami that looks like it has been folded from a
piece of paper.  That doesn't mean you can look at it and tell how it
was folded.  But that it looks like a folded piece of paper.  And I
don't believe complexety is an issue here.  Take Kawahata's Pegasus.  It
looks very much like a highly detailed living winged horse.  Yet if you
look at it closely you can see the the mouth was sinked. you can see the
pleats in the wings, and the crimps in the legs.  So you can always do
things so that others can see you folded it.  If an area requires
several flaps, splay them a little so people can see the different
layers.  If your animal has toes open the feet out a little so you can
see the crease pattern.

> I do not want to get into the aesthetics of the structure, as that is a
> separate (and more subjective) issue. Of course, with enough public
> awareness, the layman will eventually be able to  recognize the most
> complex works a s being origami. As formyself, I often find I have to
> convince people that my works are from single sheet of paper. Most of them
> seem to trust me, so I rarely had to unfold a model to show them the truth.
> It would be nicer if it could be more easily seen as origami. Any
> additional thoughts on this?

I think you should be flattered!  A while back I left models of Brill's
cigarette case and match box sitting on my bar.  When some friends came
over, they looked at me funny and asked me if I had started smoking.
When I offered them one they could see that it wasn't real.  But I took
it as a compliment.  How much more so it was your own work.  And if
after explaining it too them and they still did believe was folded from
one sheet, I would think you take it as even more of a compliment.

Frankly, I don't think it is really important if the public understands
how our work was made.  If someone see's a piece of origami and wants to
purchases it, it won't be because he appreciates the technique
involved.  It will be because he saw it.  It moved him emotionally, and
it was something he really wanted displayed in his living room.  And he
loved it so much, he was willing to pay a fair price for it.

> Marc

Oh, by the way will you really provide diagrams to prove how you folded
any of your models.  'Cause I really don't think you folded that Drummer
out of one piece of paper. ;)

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





Date: Thu, 03 Jul 1997 00:33:50 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: Re: Are complex models sculpturesque?

People admire complexity for its own sake.  They also admire relatively
simple foldings which are attractive.  The problem is to combine the two,
as I think Akira Yoshizawa does.  In general his creations are relatively
simple in general outline, but he makes an effort to get the angles of
lines to make them  more realistic.  Details to enhance realism tend to be
small and hardly noticeable, such as the treatment of the eyes.  This
combination I think is better for exhibition purposes than attempting to
produce realistic forms without regard to the attractiveness of the final
product.   James M. Sakoda, origami dollar bill foldings in pdf form:
http://idt.net/~kittyv





Date: Thu, 03 Jul 1997 07:50:32 -0300 (ADT)
From: mplewinska@mindspring.com (Magdalena Cano Plewinska)
Subject: Re: Perry  & the Unicorn

On Wed, 2 Jul 1997 14:22:52 -0300 (ADT), Devin McPherson
<devmc@oeonline.com> wrote:

>[a question about how to find the origami-l archive]

to get information on how to ACCESS the ARCHIVES ......
   Send a message to:  origami@ftp.rug.nl
   with in the body a line saying only:   faq

   - Magda Plewinska
     Miami, FL, USA
     email: mplewinska@mindspring.com





Date: Thu, 03 Jul 1997 07:53:20 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: RE: Foil backing (was RE: Paper for Rose)

At 11:24 PM 7/2/97 -0300, Dennis Brannon <brannon@jamin.enet.dec.com> wrote:

>Anybody know where I can find 3M artist's adhesive in Eastern
Massachusetts USA?

It should be available at some hardware stores, and most office supplies
stores (I got mine at Staples). Art supply stores will carry it, albeit at
a greater expense to you. The 3M id# is 62-4662-4827-5.

Marc





Date: Thu, 03 Jul 1997 07:54:59 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Re: Are complex models sculpturesque?

At 11:18 PM 7/2/97 -0300, Nick Robinson <nick@cheesypeas.demon.co.uk> wrote:
>Marc Kirschenbaum <marckrsh@pipeline.com> sez
>
>>I often find I have to
>>convince people that my works are from single sheet of paper.
>
>Why is it so important that people recognise that? There is the "buzz"
>factor as people express their admiration at the skill required, but
>it's a kind of origami snobbishness - if it looks brilliant from one
>sheet, all well & good. If it looks *identical* from two sheets, lose
>some Brownie points.

So what is wrong with that? If something uses more sophisticated
techniques, then it is reasonable to expect that aspect of a model to be
appreciated more. As long as the finall aesthetic is not being comprimised,
then I would appreciate a one piece version over a two piece version any day.
>
>I have yet to explore multi-piece origami, but it's all down to where
>the creator draws their line. We should perhaps assess them for what
>they are rather than what we'd like them to be. Yoshizawa's 2 piece
>squirrels are unmatched in their animation. Curiously enough, AY once
>had a go at Brill's 1 piece "man on a horse", saying that in nature man
>and horse are separate, therefore 2 pieces should be used. It's a shame
>Dave didn't ask how many two piece squirrels AY knew about....

Much of the animation is a result of AY's folding technique, rather than
from the number of sheets used. I agree taht this is a great example of AY
being a hypocrite. Personally, I think many multi-subject models look
better from one piece (you will get a different sort of look).  When I was
designing my series of instrumentalists, I was not trying to make a man
with a piano; instead I was trying to design a pianist. I really like the
look of all the pieces being well integrated. With this philosophy in mind,
I think I will pass on designing an origami orchestra.

Marc





Date: Thu, 03 Jul 1997 07:56:51 -0300 (ADT)
From: Paul & Jan Fodor <origami@aloha.net>
Subject: Duplicate Subscription

Thank you to all of you who tried to help me on my duplicate
subscription problem.

I think I finally figured out what was happening.  Once again the "green
net nut" has to apologize.  I printed out an entire series of messages
and compared them to the earlier series and am hanging my head in shame
because, although they look alike...same people...same topic, there are
either new messages added on or their different in some way.  'TIS THE
NATURE OF THE BEAST that I needs to get acquainted with.  Next time, I
do more investigating.   So sorry everybody.   Properly, chagrined and
now new feeling..."Oh my goodness!!!"   Aloha, Jan





Date: Thu, 03 Jul 1997 07:58:31 -0300 (ADT)
From: pat slider <slider@stonecutter.com>
Subject: very sad TRC news

Well....TRC did try to get me a title published by Origami House, but
turns out Gallery Origami House only sells to bookstores abroad. In
Japan, you can only get their titles directly from them.

Sigh. So, in sum, you can't get Origami House titles from
TRC. Disappointed but still happy with TRC. (FYI: They just shipped
me two Fuse titles. With surface shipping it cost 3294 yen, which I
calculate as $29.)

pat slider
slider@stonecutter.com





Date: Thu, 03 Jul 1997 08:05:20 -0300 (ADT)
From: "Bateman A. G." <agb@mrc-lmb.cam.ac.uk>
Subject: Re: Request to fold a model

Hi All,
       I got an e-mail yesterday from Marcy Levey. Marcy is looking for
someone to fold some origami for an ad.  So if you are interested in
doing this send an e-mail to

Marcy_Levey@a-g.com

I do not personally know Marcy, and don't have any further details than
the mails below.

Bye for now
Alex

--
- Alex Bateman
- MRC Laboratory of Molecular Biology
- agb@mrc-lmb.cam.ac.uk
- Phone: (01223) 402479
- http://www.mrc-cpe.cam.ac.uk/jong/agb/origami.html

Subject: origami
   Date: Tue, 1 Jul 97 15:54:36 -0800
   From: Marcy_Levey@a-g.com
     To: agb@mrc-lmb.cam.ac.uk

Hi, I'm an art director in Boston, MA, USA. I am currently
working on a project which involves origami. I was impressed
with your work on the internet and wanted to know if you
knew of anyone who would be interested in creating something
for one of my ads. Please let me know as soon as possible.

thank you in advance,

marcy

Thank you for responding so quickly. I don't think it
necessarily needs to be someone in my area, but that might
be the easiest. I need an animal to be made out of a sheet
of legal paper, the yellow with the blue and red lines.
Maybe a swan, but i'm not exactly sure what yet, i am open
to suggestions. Do you make origami creatures yourself?
Thanks again,

marcy





Date: Thu, 03 Jul 1997 08:34:32 -0300 (ADT)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Printing .pdf files (particularly larger ones)

Amy Huang wrote:
>         I downloaded some .pdf files the other day and tried to get them to
> print but I have met this with little success. Each time I tried to print
> right when the file loaded up, the printer didn't have enough memory to do
> so.

Laser printers come with a certain amount of memory.  When you are
printing, it attempts to download a whole  page into memory before
beginning to print.  A page with a lot of graphics takes more memory,
and if the printer doesn't have enough, the result is a partial page and
out of memory error.  Your can look at the manual for the printer and
see if it is possible to upgrade the memory.  If you have access to an
inkjet printer, you can try that - they don't download a whole page
before starting to print.  Or if you have a printer that can support
postscript mode in addition to PCL, you might be able to reconfigure it
for postscript and copy the .PS form of the diagrams directly to the
printer.

There may be other solutions -

Janet Hamilton

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





Date: Thu, 03 Jul 1997 08:42:22 -0300 (ADT)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Paper Sourse

I was at an A.C. Moore craft store the other day and saw a new display
of acid-free papers meant for mounting photos and collections or for
making scrap books.  The papers were all 81/2 x 11 and in various
weights.  Some had a consistant design all through, others had a
background design and a border design.  There were even booklets of
paper collections of various themes - holdiay, solids, florals, etc.
Price was 4/$1.00 for some, 6/$1.00 for most, and the booklet
collections were even less.

I bought some papers to try out, but haven't had a chance yet.

Janet Hamilton

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





Date: Thu, 03 Jul 1997 10:25:54 -0300 (ADT)
From: Teik Seong <tkteik@mbox2.singnet.com.sg>
Subject: Re: Kawahata's Dinosaurs.

To those who replied,

        There is indeed a book titled Dinosaur Origami by Fumiaki Kawahata (Is
     that the Kawahata
everyone's referring to?) It is not hard-covered, and about 1 cm thick. I will
     just buy it and tell everyone its
contents. :) Thanks for replying!

Regards,
Teik.





Date: Thu, 03 Jul 1997 10:30:58 -0300 (ADT)
From: Teik Seong <tkteik@mbox2.singnet.com.sg>
Subject: Re: Kawahata's Dinosaurs.

Sorry for not adding this in the last mail, but I just got to know of it...

        There is actually another book titled "Origami Dinosaur" by Yoshihide
     Momotani. Anyone knows
anything about it?

Sorry. :)





Date: Thu, 03 Jul 1997 10:46:33 -0300 (ADT)
From: Eric Andersen <ema@techhouse.cis.brown.edu>
Subject: Re: Are complex models sculpturesque?

On Thu, 3 Jul 1997, Kim Best wrote:

> ...
> pleats in the wings, and the crimps in the legs.  So you can always do
> things so that others can see you folded it.  If an area requires
> several flaps, splay them a little so people can see the different
> layers.  If your animal has toes open the feet out a little so you can
> see the crease pattern.

The other day, a friend of mine at work saw my Tuojiangosaurus from
Origami Fantasy and marveled at the fact that it had "guts", i.e., if you
looked at it from the bottom you could see many different layers in a
fairly complex arrangement. The inside was not hollow, but filled with
many layers of paper, and this really impressed her. I guess she wouldn't
like the stegosaurus, then, huh....

-Eric  :-P
origami@brown.edu

/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\
\   Eric Andersen                                       /
/    Mathematics and Music          ~  ~ __o            \
\     math@brown.edu              ~  ~ _-\<'_           /
/      ema@netspace.org        ~    ~ (_)/ (_)          \
\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/
      *** http://www.netspace.org/users/ema/ ***





Date: Thu, 03 Jul 1997 11:34:36 -0300 (ADT)
From: Dennis Brannon <brannon@jamin.enet.dec.com>
Subject: RE: Foil backing (was RE: Paper for Rose)

>It [3M artist's adhesives] should be available at some hardware stores, and
     most office supplies
>stores (I got mine at Staples). Art supply stores will carry it, albeit at
>a greater expense to you. The 3M id# is 62-4662-4827-5.

>Marc

I'll try Staples this weekend.  Thanks!
dennis
brannon@jamin.enet.dec.com





Date: Thu, 03 Jul 1997 12:28:21 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@erols.com>
Subject: Re: Kawahata's Dinosaurs.

Teik Seong wrote:
>
> To those who replied,
>
>         There is indeed a book titled Dinosaur Origami by Fumiaki Kawahata
     (Is that the Kawahata
> everyone's referring to?) It is not hard-covered, and about 1 cm thick. I
     will just buy it and tell everyone its
> contents. :) Thanks for replying!

There are three dinosuar books by Fumiaki Kawahata:
(1) Kuusou Origami (Origami Fantasy) published by Origami House. All
models are from one piece squares. There is no ISBN on that book.

(2) Kyouryuu no Origami: ISBN4-416-39304-0, some models are from 2
pieces

(3) Kyouryuu no Origami 2: ISBN4-416-39517-5, some models are from 2
pieces

|------------------------------------------------------\
|  _     Shi-Yew Chen (a.k.a. Sy) <chens@asme.org>     |\
| |_| Folding http://www.erols.com/sychen1/pprfld.html --\





Date: Thu, 03 Jul 1997 12:45:21 -0300 (ADT)
From: Ezra <hillcrst@tor.hookup.net>
Subject: I tried!!

I emailed listserver@nstn.ca to take me off this list, it just isn't
what I wanted, but I'm still on!  If any of you know how to remove
someone, please remove me.  I appreciate it.
{Ezra}





Date: Thu, 03 Jul 1997 16:23:29 -0300 (ADT)
From: fold4wet@juno.com (Rosalind F Joyce)
Subject: Re: Techniques Day at the Convention

Michael's paper making class was quite informative.  He plans to mail our
papers to us when they've dried.  He discussed pigments, dyes, pulp
quality, sources, other supplies, etc.  Ros





Date: Thu, 03 Jul 1997 16:29:42 -0300 (ADT)
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: OUSA Con, Report from a first timer.

At first I wasn't sure I was going to New York for the OUSA
Convention.  Given the distance from Salt Lake City, Utah, and
the airfare. I wasn't sure it was worth the expense.  But I
decided I  had to go at least once, and this year was as good as any.
So I made the arrangements and flew off to New York.

Once I arrived at the convention site, one of the first things I
noticed was all the famous folders, who's work I have so much
admired.  Marc Kirshenbaum, Robert Lang, Micheal LaFosse, Joseph
Wu, and John Montroll.  What I really impressed me was how
accessible they all were.  Unlike other conventions I've been to,
where the big names were off with their own small group most of
the time, or behind a desk signing autographs.  These people were
right there with everyone else chatting and folding away.

Since I registered late, I was afraid that I would have trouble
getting the classes I wanted. But, since I took mostly complex
classes I got most off the ones I wanted.

First I took a class with Jeremy Shafer folding his hysterical
"The Unfortunate Suitor".  Now I don't know what you have heard
about Jeremy, but let me tell you this:  It's all true!  This
guys incredible.  He sings, he juggles, he tells jokes, he
performs skits with the kids, and laughs so loud you can hear him
across a noisy crowded cafeteria area.  This young man is 24
years old, but looks like he is not old enough to drive.  He
always has a big smile on his face and has as much energy as a
four year old.

After folding the poor man being crushed under a stiletto healed
slipper.  We got a change to fold some of Jeremy's simpler models
and peruse a paste together copy of his upcoming book, "Origami
for the 21st Century."  He hopes to have this book out by
November.

In the afternoon Chris Palmer taught us something he calls "Queen
Masu."  Which, as you may have guess, is a variation on the
traditional masu box, with a decoration on the lid that looks
like a wreath or queens crown. Even though he used no diagrams, I
was amazed at how clearly he walked us through the folding of
this extremely complex model.  When I accomplished the octagonal
twist fold I was so delighted, I shouted out loud.  But when that
fiendish fold which I believe he calls an "octagonal de-creep",
finally fell into place, the feeling was nothing less than
spiritual!  I don't know if I will be able to refold this model
again in the near future, but I definitely learned some useful
techniques for executing complex multi-crease folds in the
future.

In the exhibition area I got a chance to see Chris Palmer
demonstrate some of his creations.  In addition to his famous
tessellations, he demonstrated such creations as:  elaborate
variations on the flasher.  Super-complex tato like purses, which
could be pulled completely open, and then snap back into place.
And a self-propelled top.  Chris is planning to put out a video
soon where he teaches some of his techniques.

On Sunday I took a class on Neal Elias's famous boxpleated
design, "The Last Waltz".  This class was taught by Rachel Katz.
In addition to step by step verbal instructions, she provided
diagrams for those who wished to fold on their own.  But Rachel's
teaching style was so fun and delightful, I just didn't want to.
Ms. Katz taught this class with such charm and grace, I almost
felt I was receiving dancing lessons instead of origami lessons.
When I expressed this to Rachel after the class, she told me she
was once a dance instructor.  When I made my second model out of
florists foil, I couldn't help but hum the "Blue Danube Waltz" as
I folded.

In the after noon Jan Polish taught a class on folding a Soma
Cube puzzle using long strips of ticker tape.  Even though it was
billed as intermediate, this was the hardest class for me, due to
the fact that the fold (or rather weaving) techniques were so new
to me.  Fortunately Jan let us take home plenty long strips of
tape.  So maybe I can work this out in my spare time.

Then I finished off the afternoon folding a dollar bill cow by
Micheal Weinstein.

On Techniques Day I attended the panel discussion on Origami
Design.  Though the insights the origami creators had were very
enlightening, I think I had the most fun chatting with John Smith
afterwards, and listening to some of his opinions which
contrasted highly with those on the panel.  Although I don't
agree with everything John had to say, I do think he had some
valid points on efforts to popularize origami.  And I do think
that we need to be careful, that in our zeal to spread
appreciation of origami to the masses, we don't destroy the craft
we so love.

In the afternoon I listened to Robert Lang explain his technique
for using geometry to design models.  It was amazing to see how
well some models could be determined just by knowing the number
of points and the distance between them.

Then is was "Origami Geometry and you" with Tom Hull.  I have
always been interested in mathematical recreations, and the
exercises Tom had us do were very stimulating.  Origami geometry
is more than just trisecting angles and constructing pentagons.

But the really fun things happened outside the class room.  Among
the highlights were:

I was folding one of the models from the Annual collection, and
Vicente Palacios was folding with a group of people at the next
table.  Suddenly my concentration was interrupted by clackety
clack sounds similar to an old mechanical type writer.  This was
followed by spontaneous applause and cheering.  I looked up to
see Vicente tapping away at what looked like a piece of paper
folded in half and curled slightly.  Although I finally got the
design down, I'm still sure how it works.

Watching a tape of a Japanese program featuring an Origami
competition.  It had such things as a kind of origami round
robin, tower building, and oversized paper folding. I don't speak
a word of Japanese.  Fortunately we had Joseph Wu translating the
highlights.

Staying up till 3:30 in the morning with John Montroll and
folding some of the models in his upcoming book, "Teaching
Origami." Among them was a really cute cartoon like bee.  And a
waterwheel by Max Hulme, which appears like magic at the end when
you separates some layers of paper.

But  the most fun of all was the spontaneous group folding.  My
favorite being a Talking frog, taught to me by a beautiful
burgundy haired woman.  What made it unique was that, unlike most
models where the action mechanism is in the head, the one on this
model was in the body of the creature, so that the head was
unobstructed.

In short I had a blast, and I definitely plan to go next year.
This is a trip I would recommend to anyone who loves origami.  I
think my feelings can best be described in the words of a young
boy who stayed up late with us on Sunday night and hungout with
John Montroll:  "The only thing I don't like about this is the
times they make me sleep!"

--
                                    *******************************
Kim Best                            *  OUSA Convention Rumor:     *
Rocky Mountain Cancer Data System   *  If Jeremy Shafer consumed  *
420 Chipeta Way #120                * caffiene, he would explode  *
Salt Lake City, Utah  84108         *******************************





Date: Thu, 03 Jul 1997 16:42:02 -0300 (ADT)
From: Postcards <postcards@postcards.com>
Subject: Printer Memory with HP printers

I get the digest daily, so replying to invidual messages is difficult,
and this might as well have a new subject.

HP Printers are fairly unique, in that from the very begining, they
need form the image of the page in their own memory.  This means that
in order to print on an HP laserjet or high-end deskjet, you need to
have enough memory in them to form the complete page.

This has both good and bad points.  It allows the printers to do a
heck of a lot of the work in printing and formatting, taking the load
of the computer and drivers, and also allows the printers to print
multiple copies of the same page without having to download and format
the page each time.

I had to increase the memory in my laser printers even  6 years ago
to 4 or  6 meg from the original 2 meg (sufficient for letters and
simple documents) and I had to increase my Deskjet 1200 from the
original 2 or 4 to about 10 or 12 (I forget exactly) but since I
did, I have never run out of memory even with complex color graphics.

Most sales people don't know this about HP's, and the newer ones
that do photo graphic reproduction print using the computer's CPU
and a smaller buffer on the printer.  That's also why these printers
are so much less than the 1200 and 1600 are, they don't do any
processing, and don't take the load off the CPU.

This is a bit longer than it needed to be, but just in case anyone
else had an HP in the Laserjet series or a high-end DeskJet and
got an out of memory error this is both a feature and limitation
of the HP printers - at least the ones that support HP's proprietary
formatting language.

The solution -- use someone elses printer or buy more memory :)
(this has NOTHING to do with your computer's RAM or even printer
buffer if you have one, this is memory that lives in the printer
itself)

-rsp-





Date: Thu, 03 Jul 1997 17:08:09 -0300 (ADT)
From: Jorma Oksanen <tenu@sci.fi>
Subject: Re: Are complex models sculpturesque?

On 03-Jul-97, Marc Kirschenbaum (marckrsh@pipeline.com) wrote:
>At 11:18 PM 7/2/97 -0300, Nick Robinson <nick@cheesypeas.demon.co.uk>
wrote:
>>Marc Kirschenbaum <marckrsh@pipeline.com> sez
>>
>>>I often find I have to
>>>convince people that my works are from single sheet of paper.
>>
>>Why is it so important that people recognise that? There is the "buzz"
>>factor as people express their admiration at the skill required, but
>>it's a kind of origami snobbishness - if it looks brilliant from one
>>sheet, all well & good. If it looks *identical* from two sheets, lose
>>some Brownie points.

>So what is wrong with that? If something uses more sophisticated
>techniques, then it is reasonable to expect that aspect of a model to be
>appreciated more. As long as the finall aesthetic is not being comprimised,
>then I would appreciate a one piece version over a two piece version any
>day.

For non-folders it's not important. The only time I've been asked how many
sheets I've used was when I showed 30-unit sonobe sphere (10*10mm sheets,
foil, tweezers), but then it was clear to them it just couldn't be one
sheet.

Jorma
--
Jorma Oksanen   tenu@sci.fi

"It's a good thing the average person doesn't realize
 the awesome destructive power of origami"              Earthworm Jim





Date: Thu, 03 Jul 1997 18:56:20 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: OUSA Con, Report from a first timer.

On Thu, 3 Jul 1997, Kim Best wrote:

> In short I had a blast, and I definitely plan to go next year.
> This is a trip I would recommend to anyone who loves origami.  I
> think my feelings can best be described in the words of a young
> boy who stayed up late with us on Sunday night and hungout with
> John Montroll:  "The only thing I don't like about this is the
> times they make me sleep!"

Good to know you had a good time, Kim! And the little boy you refer to is
Gus Black, 6-years-old with an innate understanding of spacial geometry
(although he doesn't know the terminology yet). Watch out for him, he's
going to be great!  ;)

          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
                              To Do It. Have the appropriate amount of fun.
                                          --Wall, Christiansen, Schwartz





Date: Thu, 03 Jul 1997 22:00:39 -0300 (ADT)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Kawahata's Dinosaurs.

Teik Seong wrote:
>         There is actually another book titled "Origami Dinosaur" by Yoshihide
     Momotani. Anyone knows
> anything about it?

The book is 64 pages, 14 models, mostly low intermediate, many using
multiple pieces of paper.  It is in English, and comes with a small
package of origami paper.

Publisher: Kodansha International
ISBN: 1-56836-008-8

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





Date: Thu, 03 Jul 1997 23:06:45 -0300 (ADT)
From: JacAlArt@aol.com
Subject: Re: Are complex models sculpturesque?

In a message dated 7/3/97 12:37:49 AM, you wrote:

<<And what if it is intended to be folded without ripping, but you could
not avoid that? :-)
>>

Then it's a poor design and needs to be re-worked so the unavoidable tearing
becomes avoidable! Next question...





Date: Fri, 04 Jul 1997 04:45:23 -0300 (ADT)
From: Jamaro@aol.com
Subject: Re: Kawahata's Dinosaurs.

I came in a little late, however, I recently bought a bood by Fumiaki
Kawahata entitled "I Love Origami; Origami Fantasy" .  It is in Japanese,
with a few titles in English.  He has quite a few dinosaurs in it, all
beautify, complex, and lifelike.  The T-rex is on the cover, and it does have
teeth!  (I counted eight teeth) All from one piece of paper, no cutting.





Date: Fri, 04 Jul 1997 10:20:53 -0300 (ADT)
From: A.Welles@student.kun.nl
Subject: Re:Sharks & lots of legs

This may be called quite a late reply to the request for realistic sharks,
but since I can only read my mail-messages at my university and since it is
summer-holiday now for me I reply anyway.

The "blue shark in "Sea Life" also is the best one I know, but I have
done one myself 'bout a week ago.
I actually started with a Hammer-head Shark but after finishing one I
realised it could be turned into a 'regular'shark as well.

I haven't diagrammed these two sharks yet and I don't know whether this
will happen this summer (since I'm quite busy with other stuff), but I will
probably go to the BOS-convention in York in September this year and then
I'll bring the sharks with me....

I also have an (additional?) question. The day before yesterday I
designed a 14-legged (and with antennae) sow bug (or pill bug whatever
you'd like to call the animal). One of my main points I had focused on
was having the 14 legs parallel to each-other.

Lang did one too in "Origami Insects and their Kin", but his had legs -seven
at each side- that were more 'spreaded' as the points in his Murex from
"Sea Life". The Lang-model is great though!!

I was wondering: does anyone know models of centipedes with lots of legs from
a square piece of paper? My point actually is: how far can you go-how
many legs/points?

Have a nice holiday!

Arjan Welles
The Netherlands
(A.Welles@student.kun.nl)





Date: Fri, 04 Jul 1997 10:23:14 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: PDF format

Can some kind origami soul please explain to me what you mean by PDF format.
 I am left way behind with all this talk about this subject.  Does it have to
do with drawing diagrams or does it have to do with this program Acrobat that
you are talking about.   I am in the dark with all of new computer stuff.
 Thanks for answers in advance. Dorigami





Date: Fri, 04 Jul 1997 10:37:11 -0300 (ADT)
From: "Bateman A. G." <agb@mrc-lmb.cam.ac.uk>
Subject: Re: Sharks & lots of legs

> I was wondering: does anyone know models of centipedes with lots of legs from
> a square piece of paper? My point actually is: how far can you go-how
> many legs/points?
>
> Have a nice holiday!
>
> Arjan Welles
> The Netherlands
> (A.Welles@student.kun.nl)

Hi Arjan,
         As usual Robert Lang was there first! Robert showed a centipede
with 30(ish) legs from a square at the Last York convention.  Later
Robert told me that he had a generalised form of the base that could
provide 196 points :-O

Bye for now
Alex

--
- Alex Bateman
- MRC Laboratory of Molecular Biology
- agb@mrc-lmb.cam.ac.uk
- Phone: (01223) 402479
- http://www.mrc-cpe.cam.ac.uk/jong/agb/origami.html





Date: Fri, 04 Jul 1997 11:39:56 -0300 (ADT)
From: Devin McPherson <devmc@oeonline.com>
Subject: Re: Are complex models sculpturesque?

Wow! Zack. That's an awful lot of words for a man who doesn't want
complexity.
;-)
--
-=[Devin]=-

http://oeonline.com/~devmc/origami.html

*******************************************
 It has been said that a million monkeys
 on a million keyboards could type the
 complete works of William Shakespeare.
 Thanks to AOL, we know thats not true.





Date: Fri, 04 Jul 1997 11:49:33 -0300 (ADT)
From: Sheldon Ackerman <ackerman@dorsai.org>
Subject: Re: PDF format

> Can some kind origami soul please explain to me what you mean by PDF format.
>  I am left way behind with all this talk about this subject.  Does it have to
> do with drawing diagrams or does it have to do with this program Acrobat that
> you are talking about.   I am in the dark with all of new computer stuff.
>  Thanks for answers in advance. Dorigami
>
PDF is an extenstion like other extensions such as TXT, EXE, JPG,
etc...
It stands for Portable Document Format. It was created by Adobe to
make life easier for everyone. Once you get Adobe's Acrobat reader or
whatever it is called then you can read PDF files regardless of
whether you are using a MAC, Windows, DOS, or UNIX.

---
ackerman@dorsai.dorsai.org
sheldon_ackerman@fc1.nycenet.edu
http://www.dorsai.org/~ackerman





Date: Fri, 04 Jul 1997 12:05:22 -0300 (ADT)
From: Marcia Mau <marcia.mau@pressroom.com>
Subject: OUSA Convention

I'm still recuperating from staying up til 2AM folding on most nights so I
hope I haven't forgotten anything.
This was my 11th convention.  It was great to see people again and finally
get a chance to talk and fold with people I had met briefly at previous
conventions.

I stayed in Alumni Hall in one of the suites w/ Anne Jekel, Susana Arashiro
from Argentina and Mari Kanegae from Brazil.  This made for some interesting
conversations since Susana and Mari are Nisei(2nd generation) and I am a
Yonsei(4th generation).  Our combined knowledge of Japanese was about 10
words.  I don't speak Spanish and Susana doesn't speak English.  Mari, who
spoke Portuguese, Spanish, and English was the translator most of the time.
Occasionally she would speak to me in Portuguese and then switch to English
when she realized I didn't understand her.  On Thursday and Friday, I was
their tour guide to the World Trade Center, Cartier exhibit, Staples, a 99
cents store, Sports Authority, restaurants on the upper west side, South
Street Seaport, and the Strand Bookstore.

Friday morning at 6:15 Mari, Susana, Laura Kruskal, and I met Mark Kennedy
en route to the Today Show.  (Rob Hudson was a no show!)  We stood in the
crowd outside the tv studio at Rockefeller Center, wearing our Laura Kruskal
crowns.  We were joined by Robin Macey and Steve and Sallie Buck.  Mark had
two origami signs which he and Robin held up for most of the two hours we
were there.  One had two faces and the caption "Separated at birth, Gene
Shalit and Mark Twain."  Robin was interviewed on camera and was able to
handover a bag of Mark's pins to be given to Katie Couric.  Robin was
holding a Jack in the Box which he had made for the Model Menu and when
asked for it, refused to give it to NBC.  One strange sensation was to watch
ourselves waving and cheering on the tv monitors!  Jon Bon Jovi was the live
entertainment.

After the taping, we had breakfast in the Time Warner Cafeteria and then
went to Kinokuniya to look at their books.  We talked to several
representatives and managers of the bookstore and learned that Yoshizawa was
on his way to Kinokuniya.  Kinokuniya has issued origami videos by
Yoshizawa, Sano, and Fuse.  They sell in the US for $49.95 each, which
Joseph Wu said was quite a bit less than they sell for in Japan.  Each tape
is about 30 minutes in length and is in Japanese (no English subtitles).  We
watched the Yoshizawa tape on dual monitors in the cafe area.  When
Yoshizawa walked in, it was life imitating art!  He was signing copies of
his books as we left.  I was asked my opinion of the pricing of the tapes.
I said that English subtitles and $20 - $25 apiece would be better, but
$12.95 at Blockbuster and Tower Video would be ideal.

On Saturday during the lunch break, 11 of us went to the Museum of Chinese
in the Americas in Chinatown to see the Golden Venture exhibit.  On exhibit
are artwork owned by or on loan to the museum. The pieces are displayed at
various levels and are viewed through the screened enclosure. We were told
that all the refugees have now been released from York.  The exhibit has
been extended thru August.  The museum is closed on Sunday and Monday.

My favorite part of the convention was the informal folding in the
Hospitality area.  I brought the diagrams for the ribbon fish and bird and
distributed them to those from o-list who had requested them in advance.
Patty Grodner showed me how to make the bird and later she taught Jin-Chih
Chang.  Karen Bishop brought in diagrams by Carol Ann Wilk for the fish and
made one out of strapping plastic.  (Any ideas for sources of strapping
plastic, other than raiding packages on a loading dock?)  I found the
Chinese ribbon with narrow gold edge stripes at #2 Mott St, again in
Chinatown.  The store has lots of Sanrio products, including Hello Kitty
lucky star strips.

I showed people the 18 pc flower made of joss paper.  After another trip to
Chinatown for joss paper and hell money, people were able to fold their own
units to make the joss paper flowers.  The universal reaction by those of
Chinese descent was a look of horror that we would be encouraging bad luck
by folding w/ these papers. We got into lively discussions of Chinese
funeral customs in Malaysia, Taiwan, and the US.  I was also able to get a
translation of the text of my tangram tshirt, which was an advertisement
which mentioned 1150 different combinations.  Ah Moi Yip gave me some lucky
star kits from Malaysia.

One night about 2AM, Susana showed me a cube which disassembles into 3
linked rings, each ring made of 3 units. She didn't know the creator.  The
next day I taught at least 15 other people this model.  Yesterday while
looking at Valerie Vann's AOL web site, I concluded this model must be
Valerie's Magic Puzzle Cube, 3 piece version.  Leslie Chang discovered the
cube is impossible to disassemble when each side has three colors.  When the
cube had one or two sides w/ only 2 colors, it was easy to revert back to 3
linked rings.

Valerie had sent a box of new biz card folds to Rob Hudson.  It was fun
unpacking the cubes and seeing what Valerie has created, including a
waterwheel and a star.  For those of us involved in the cuboc brouhaha last
year, we felt redeemed by Valerie's addressing a memo to us as cuboc fans
and biz card enthusiasts.  Valerie had sent extensive instructions which I
hope she'll make available since I didn't get a copy from Rob.

Bob Brill had some interesting creations from biz cards and 3x5 modules,
including a truncated cube and a multilevel tower w/ a pointed top.  I had
taught him Natale Fietta's 6 pc 3x5 model way back in 1989.  (Are there
other  models made from 3x5 paper out there?)

Rona Gurkewitz and I had a chance to talk about our mutual interest in
ukiyo-e (Japanese woodblock prints) with origami motifs.  She gave me a
photograph of one by Toyokuni III, part of the series of 100 Poems by 100
Poets. Another print in the series is in the Van Gogh Museum in Amsterdam.
Several years ago at the Whistler in Japan exhibit at the Freer Gallery at
the Smithsonian, there was a triptych by Utamaro entitled Treasure Boat of
the New Year which also featured an origami crane.

After the convention, I was shown a copy of The Boy with Paper Wings by
Susan Lowell.  Nick Robinson was one of the origami consultants.  Each
chapter's first page has a picture of origami and there are some diagrams in
the book.  The paperback version is $7.95, discounted by Amazon Books at $5.56.
Marcia Mau
Vienna, VA USA
marcia.mau@pressroom.com





Date: Fri, 04 Jul 1997 12:36:51 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Re: PDF format (What's It?)

PDF format is a kind or format of computer file that
was invented by the Adobe company. Adobe is the company
that invented the Postscript printer language and
licenses it to printer manufacturers and program
writers. It is a special format of file also, called
a "page description" language, similar to a programming
language, that tells a printer or display device how
to format a page, including all the color and font
information.

PDF format is somewhat related. In order to view or
print a PDF file you need a program by Adobe called
Adobe Acrobat Reader. This Reader program is available
for all kinds of computer systems: IBMPC types, MACs,
Unix systems etc. The Reader program is available for
free to download from Adobe's web site:

http://www.adobe.com

This link is usually given on other web pages like mine
and Alex's where PDF format files are available.

Unlike Postscript files, however, if you have the
Reader program, you don't need a Postscript type printer
(which are usually more expensive than non-postscript
printers; e.g. Hewlett Packard LajerJet printers that
have the Postscript option built in run about $500US
more than the regular models.) Acrobat Reader can
print the PDF file on whatever printer you have for
Windows or MAC, as long as it can print graphics. (This
means if your PC or MAC can print pictures from Web
sites, or do fancy fonts in your wordprocesser,
that's all you need.)

Postscript files are widely used for graphics and fancy
formated "desktop publishing" work because of the
precision in which they describe how the result is to
be printed.

Acrobat Reader PDF files are a little different and go
a little farther: they are primarily meant to be displayed
and read on your computer screen. Acrobat enables you
to zoom in (or enlarge) sections of each page so you can
see all the detail of the original (computer displays
are less precise than printing), and move around. PDF
files made for the current version of Acrobat can also
have little "thumbnail" pictures of each page so you
can navigate easily thru multi page documents. They
can have indexes, and you can attach notes like electronic
Post-Its, and put bookmarks so the reader can hop to
a related part of the document, or even Web hyperlinks
to direct the reader to a Web page on the Internet.

Since the Adobe company invented both Postscript and
PDF format, they naturally came up with a way to
convert one to the other, so that if you have a program
(like the older CAD or engineering drawing program that
I use) that can output PostScript files, but is before
PDF was invented, you can make PostScript files and then
covert them to PDF files, which are better for viewing.

Another reason some of us have taken to using PDF files
instead of Postscript files is that PDF files are often
slightly smaller than the equivalent Postscript, but
without loss of detail. Plus we can add all the features
listed above, and combine multiple Postscript files into
one document.

Note that while the READER program is free, and is all
you need to USE PDF files (view and print), you need
additional Adobe software to MAKE PDF files. There are
programs to convert Postscript files to PDF files, and
other utilities, some of which are built into current
wordprocessers like Microsoft Word97 that enable the
user to have the document output as a PDF file instead
of printed.

To add all the extras, however, like
bookmarks and links, you still need an Adobe software
package (currently Acrobat Pro 3.0 in the PC version).
In includes a variety of PDF file programs, and costs
about $200US. There are also even bigger more expensive
and network Acrobat programs for building a full blown
document management operation, creating a CROM full
of PDF documents that are crosslinked, indexed,
searchable, etc. etc.

More and more you will find that the documentation
for new computer programs or devices will come in
PDF format on CDROM or disk. In this case the READER
program is usually supplied as well. You will also
find that many private and government Web sites offer
avaiable documents in PDF format now.

--valerie
Valerie_Vann@compuserve.com





Date: Fri, 04 Jul 1997 12:40:44 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: OUSA Con, About the 6 year old at convention

I too noticed this little 6 yr. old guy folding at the convention in the wee
hours and wondered why he was up so late.  As I was leaving I saw him sitting
on the floor assembling the butterfly balloon and I realized this was not
just a 6 year old kid but a folder amonst folders.  Wow!  I don't know his
name but I am sure he will be one of our prominent folders a few years from
now. And speaking of the convention, it was just wonderful thanks to all of
the organizers and to all of the super wonderful attendees.  It is just like
a great big think tank of ideas and is just mind boggling.  Anyone who
couldn't atend should try for next year. I hope to see you all again next
time.  Origami provides much joy in my life. Dorigami





Date: Fri, 04 Jul 1997 12:50:33 -0300 (ADT)
From: bleu <bleu@epsilon.enet.gr>
Subject: Back Foil

After a lot of experimentations with origami paper, which is not
available in Greece
so I always buy it in London, I decided to try to spay mount foil on it.
I was really impressed with the results. Even though the paper now is
thicker an somewhat harder to fold, the finished piece is more
natural, and looks much more alive than whithout the foil. I can sculpt
now the figure, and I bet its gonna
stay longer. I do encounter the problem of origamis' unfolded after a
period of time, so maybe the back foil
paper is the solution.
Sometimes I wish that somewhere here in Athens are some more people
interested in origami, so we can share tips and ideas, but it seems I am
alone here

Keep up folding

Dimmis





Date: Fri, 04 Jul 1997 15:24:25 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: NORM: PDF format

On Fri, 4 Jul 1997, Sheldon Ackerman wrote:
> whatever it is called then you can read PDF files regardless of
> whether you are using a MAC, Windows, DOS, or UNIX.
                                                ^^^^ No. The Unix port of
Acrobat Reader is for SunOS/Solaris, and it also (IIRC) requires Motif to
run. For me, using Linux, this is no solution at all. (It might run using
iBCS, but this would still require me to buy Motif, which is about $170.)

There is also GhostScript to read PDF files, but its PDF part is still
very immature and not quite usable. Perhaps this will change with release
5.0, but I'm not sure of that.

As long as there are no free implementations of PDF, I'll consider it just
another proprietary format. And in most cases, PostScript is a better
solution, since with GhostScript we have a very mature and stable
PostScript interpreter that is available for even more platforms than
Acrobat reader.

In my opinion, Adobe simply realized that it was loosing market shares
with PostScript, and furthermore that the PC market was almost completely
unaware of this format. That's why they decided to quickly push PDF into
the market, in spite of PostScript being the superior format. Or can
anyone tell me what advantages PDF has? It has better mechanisms for
remarks and revisions, OK, but I don't see any reason why you couldn't
incorporate that into PostScript as well.

Please reply privately, since this has nothing to do with origami at all.

Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de





Date: Fri, 04 Jul 1997 17:29:25 -0300 (ADT)
From: Sheldon Ackerman <ackerman@dorsai.org>
Subject: Re: NORM: PDF format

> > whatever it is called then you can read PDF files regardless of
> > whether you are using a MAC, Windows, DOS, or UNIX.
>                                                 ^^^^ No. The Unix port of
> Acrobat Reader is for SunOS/Solaris, and it also (IIRC) requires Motif to
> run. For me, using Linux, this is no solution at all. (It might run using
> iBCS, but this would still require me to buy Motif, which is about $170.)
Sorry. All I did was quote the above from the documentation that is
in my copy of Acrobat :-)

> In my opinion, Adobe simply realized that it was loosing market shares
> with PostScript, and furthermore that the PC market was almost completely
> unaware of this format. That's why they decided to quickly push PDF into
> the market, in spite of PostScript being the superior format. Or can
> anyone tell me what advantages PDF has? It has better mechanisms for
> remarks and revisions, OK, but I don't see any reason why you couldn't
> incorporate that into PostScript as well.

I can't print a postscript file with my printer and can easily print
a PDF file. No, I haven't tried the latest versions of GhostScript. I
was not happy at all with the earlier versions.

---
ackerman@dorsai.dorsai.org
sheldon_ackerman@fc1.nycenet.edu
http://www.dorsai.org/~ackerman





Date: Fri, 04 Jul 1997 17:49:33 -0300 (ADT)
From: MLP <maceca@col3.telecom.com.co>
Subject: Hello. I need help

Hi friends

 I'm new in the art. Can somebody send me models and book's references.

 I'll be patient!!

 Thanks





Date: Fri, 04 Jul 1997 17:58:47 -0300 (ADT)
From: rhudson@netrax.net (Hudson-Robert)
Subject: Convention Attendees list

Hi all--

I was thinking about keying in the convention attendees list for my own
personal, not-for profit purposes.  Anyone who wants to divy up the pages
and type a couple  to be merged into one database, please e-mail me
privately at :

rhudson@netrax.net

It's the easiest way for me to keep track of people I've met, people I owe
diagrams to, etc.   I've currently got a simple entry form in Access, but I
can translate a number of formats for the merge.





Date: Fri, 04 Jul 1997 19:08:44 -0300 (ADT)
From: Mark Morden <marmonk@eskimo.com>
Subject: Keep convention reports coming

Just a quick note to say that I have enjoyed and appreciate the reports of
those who attended the convention.  Please keep them coming if there is
anyone else inclined to share thier stories or impressions.

Thanks

Mark

Mark Morden == marmonk@mail.eskimo.com
http://www.eskimo.com/~marmonk/
--------------------------------------------------------
"God gives His gifts where he finds the vessel empty
enough to receive them."
                                         C.S. Lewis
