




Date: Fri, 04 Jul 1997 19:39:39 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: OUSA Convention '97

I've been back from the convention for a few days now.  I have finally
caught up reading the 300 messages that arrived since I left on
vacation the weekend before the convention.  I'll be posting replies to
those as I get a chance.

First, and most importantly:
    THANKS! to _ALL_ the people whose work made the convention happen.
    If I start to name names I will forget someone and I don't want to do
    that.  And I don't even know everyone who was involved.  It was my
    best convention yet (best of 3 so far).

        THANKS TO EVERYONE!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Details and Highlights:

These are necessarily subjective and personal, as well as rambling and
disjointed - much like the convention itself actually.  I will
undoubtably post more as I recall them.  And while I had a blast the
whole time, yes, certain parts do stand out.  Most of these are very
hard to describe the feel of, and for the early morning stuff, you "had
taste, either to remind those who were there, or to tempt those who
weren't into coming next year...

Various "performances"!
    Through bad timing I missed Jeremy Shafer's new Mr. Smiley story,
    but I did manage to catch most of his Juggling/Singing act.

    After the Monday night reception, John Montroll sat down at the
    piano to tickle the ivories (I had to leave for a while so I didn't
    get to listen to very much of it though).

    At Oh-Wee-Hundred on Sunday (or was it Monday?) morning, Jeremy,
    "RC" (last name stuck on tip of tongue), John Montroll, and a few
    other folks from time to time, did some impromptu singing and
    parodying.  My poor fogged and sleep deprived but very happy brain
    is currently unable to recall any of the lines, but I do recall
    that a first timer came up with a few verses of parody to "Mary
    had a little lamb."

Classes, Teaching:
        This was my first time teaching at a convention and I was very
    anxious about it in advance.  Joseph Wu permitted me to teach his
    "When Pigs Grow Wings and Fly" (WPGWaF) and his "Snowflake" (SF)
    models, both of which are among my most favorite models.

    WPGWaF was first thing Saturday morning.  It went very well though
    when I found out Jonathan Baxter was in the class I did get a bit
    more nervous!  Luckily it was all for naught.  The class ran over
    the allotted time and into the lunch time, but everyone did well
    and it was a fun class to teach.  A few people had to leave early,
    some without finishing their models.  I tried to make sure I found
    everyone who did to make sure that they could finish and I hope
    that I did find (or was found by) everyone.  Mark Morden's diagrams
    for WPGWaF are on his web site and are also in the annual
    collection.  I taught the model slighlty differently, though not
    much so.  After this class my anxiety of teaching dropped way
    down.

    The SF class was at 4pm on Sunday and I was very glad, since I was
    on vacation before the convention and I didn't cut the hexagons in
    advance.  I am definitely preparing better for next year!  I spent
    most of Saturday and Sunday cutting them instead.  I finished with
    about two hours to spare (and about 10 extras, just in case a few
    more people showed up).  Joseph had brought a display of snowflakes
    for the exhibition area and permitted me to bring it to the class.
    I had managed to forget to bring Joseph's diagrams, but talked Marc
    Kirschenbaum into bring his in for me to copy.  So with the
    hexagons cut I dashed off to Kinkos to copy the diagrams and got
    back to the convention with 30 minutes to spare.  The class went
    pretty well, though it was a bit cramped and I couldn't really get
    into the back row to help folks out.  We finished right on time.
    Joseph had showed me a few simple variations on the model and I was
    able to show them to the people who wanted to stay a bit longer.

    Thanks to Joseph for the models and the SF diagrams, to Marc K.
    for bringing his in on short notice, to Mark Morden for the WPGWaF
    diagrams, and to OUSA for 13" paper for the WPGWaF model, as well
    as to Tony and the scheduling staff for such "over-run" friendly
    class time slots!

Classes, Attending:
    I decided not to take classes on Saturday and Sunday since I was
    stressed about teaching and wanted max. prep time.  On Monday I
    took Bob Arter's (I hope I remember that name right!) class in
    which we took cheap art paper and turned it into faux handmade
    paper.  We crumpled up one sheet over and over, then used Elmer's
    glue and water to attach it to an uncrumpled sheet.  Once that was
    done we painted with water colors.  When the paper was slightly
    less damp we folded boxes.  With Elmer's you have to fold before it
    dries because it cannot be re-wet, but Bob told us that with other
    glues you can re-wet the paper and (re-)fold it.  It was great
    fun!

    The Monday AM slot had two other classes I also wanted to take, the
    "Panel Discussion" and David Lister's "History of Origami in
    America."  I knew from previous convention experience that if I
    didn't take an active class, I would crash.  Schedule conflicts are
    the bane of the convention attender and sometimes you just have to
    make hard choices.

    The Monday PM slots were also tough, but as I had not taken any
    classes I _had_ to take Yoshizawa's Swan class.  He spent about two
    hours talking about paper and his backcoating method.  It was very
    interesting stuff!  The most interesting parts were the attention to
    detail and mechanics.  I didn't take notes, since I wanted to absorb
    the experience whole, rather than detach and observe it (so to
    speak).  He talked while his wife did the "demonstration."  They had
    brought paper and precooked "paste."  The demo was a bit odd since
    they didn't have the time for the complete paste processing (Mrs.
    Yoshizawa normally brushes the paste for two hours to make it smooth
    enough).  Nor did we have the time to wait for the backcoated paper
    to dry.  After the talk/philosophy/demo, we had 45 minutes to learn
    to fold the swan.  This was a bit stressful for me and the folks
    around me.  Everyone was worried about doing it "right" and the time
    crunch left us without enough time to finish the head properly
    (IMHO).  I had to leave then, but learned that anyone who could stay
    would have been able to watch Mr. Yoshizawa fold a swan from an
    equilateral triangle.  It was already clear to me going into the
    class that Yoshizawa's models don't have enough landmarks to allow
    a good result on the first try.  As I had heard from friends who
    took his other classes, the teaching was punctuated with
    interruptions as Mr. and Mrs. Yoshizawa disagreed and conferred
    over the folds to be taught.  I found this extrememly funny and
    very endearing, esp.  because I do not deify Yoshizawa as many at
    the convention seemed to do.  He is a great artist, but he is also
    a person.  He was more serious in this class than I had heard he
    was in others, though he did tell a joke or two.  I wished I could
    have watched him fold up close...

Impressions, etc.:

    As I knew would be true, the after hours folding and schmoozing was
    the bestest part.  I met several fellow origami-l-ians via the
    'apple', and apparently missed several others whom I either didn't
    see at all, or didn't recognize without their email address.  There
    is never enough time to talk to everyone you want to.  Hi to
    everyone I did meet, sorry to those I didn't, and "come next year!"
    to everyone on the list.

    As Joseph mentioned, Gus Black was there and was amazing.  He was
    in the WPGWaF class and did very well.  I was charmed by his after
    hours folding too.  He also had another observation which I liked,
    which I can only remember well enough to paraphrase as "why do they
    have classes starting so early when everyone stays up so late?"

    I spent some time one afternoon, I think it was Sunday afternoon,
    at a table with John Smith.  He has some very radical ideas
    regarding folding from a single uncut square that he was going on
    about.  In addition to the very entertaining and amusing banter, he
    managed to teach me Ted Norminton's Rose.  (Ted's Daffodil is among
    my top ten favorite models).  John is the self-proclaimed worst
    folder in origami and he was (I think!) deliberately misteaching me
    this model.  I think he did this so he might have some competition
    for such a distinguished honor! ;-)  In the end I managed an
    exceptable version and he was kind enough to give me his as well.
    Thanks John!

    The Silent Auction wasn't an Auction this year, it was a lottery.
    You could buy tickets for $1 and each item for "auction" had a
    little box (folded of course) that you could drop your tickets
    into.  Winning tickets were drawn at 4pm on Sunday.  I suppose it
    is more fair than the silent auction, but somehow seemed less fun.

    Vicente Palacios taught a few classes and I wish I had just sat in
    on them to observe his style as everyone I talked to loved his
    classes.  He taught a working whistle (made from heavy card stock
    apparently) that is quite loud.  He also showed/taught a model that
    is apparently "traditional" (though Jeremy Shafer thinks there must
    be a creator to credit, and I agree).  The model was a "typewriter
    sound" maker.  Take a 2x1 sheet of heavy paper (such as typing
    paper!) and fold it in half to make a square.  On the top layer
    opposite the folded edge, valley fold up a strip (roughly 1/8th,
    but it doesn't matter).  Curl the folded edge under (you might have
    to really curl it hard) with the "key flap" sticking up.  On a hard
    surface, sharply tap the model between the flap and the curl, close
    to the flap, and the paper should quickly bounce and give a very
    "mechanical typewriter" sound.

    Another very popular model was a 3D version of Neale's "Magic
    Ring" action model which Gay Merrill Gross taught.  She learned it
    from S. Giarrusso who told her that it was a design by "Bolt"
    (this name was given verbally, not spelt).  Gay does not know if
    this is supposed to be Ray Bolt or someone else.  If anyone knows,
    please do post it to the list!

Suggestions for Convention '98:
    It seems backwards to me to have the cheap dinner on Saturday
    night and the "reception" dinner on Monday night, since many folks
    cannot stay until Monday, and by then the exhibit is down, etc.
    etc. etc.  How about switching the nights?

-Doug "D'gou" Philips





Date: Fri, 04 Jul 1997 19:40:12 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Convention Attendees list

Rob,

Are you aware that OUSA goes to considerable lengths to assure that
both their membership lists and the convention lists are not
used for commercial or similar purposes, even by origami related
enterprises? And that members can request to be excluded from both,
and from having their information shared with even the regional
groups? Or that OUSA has recently tightened up their policy about
membership lists to guard against distribution of address information
without the members consent?

If your purpose is to keep track of "those you met, owe diagrams"
etc., why do you need the entire list? Why not just check off and
enter those you need and let others do likewise? And implement
a mechanism in your database indicating where you obtained the
information and whether the person has asked that you not distribute
their information to others?

As soon as this kind of information gets into *ANY* electronic
form and passed around, the individuals in it lose control of their
own private information. Pretty soon someone will upload it to
the archive or post it on a Web site.

I'm sorry, but I think this is a bad idea, and totally unnecessary
for the purposes you state. Sure, given that anyone with a scanner
and an OCR program can stuff the whole paper list through and with
a little proof-reading of numbers, have the whole thing in a few
hours, *SOMEONE* is bound to do it, but it doesn't have to be you.

Spend the time on writing up that convention report and putting
your photos on your web site instead.

Valerie_Vann@compuserve.com





Date: Fri, 04 Jul 1997 23:58:40 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Re: Back Foil

Dimmis wrote:
+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.

I also suggest that you try wet folding.  Kami can be wet folded, but it is
tougher to work with than thicker papers.  You have experiment because you
only want to dampen the paper (either with a damp sponge or spray mister).
It should be about the consistency of leather (depending on what you start
with).  The "problem" with foilbacked paper is that it is easily disturbed by
handling or moving.  When dry, wet folded models will retain their shape and
are much stronger than foil models.  The down side is that you have to wait
for them to dry and use either drafting tape, string, clothespins, etc. to
hold them in shape while they dry.  The up side is that you can rewet parts of
them and work on the model over time without fear that it will be accidently
mushed up in between sessions.

-D'gou





Date: Sat, 05 Jul 1997 00:08:22 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Re: Kawasaki rose conspiracy?

Dr. Moze wrote:
+With all the discussion of the Kawasaki roses (OftC and 'Rose II' with
+diagrams available on the web), I have to wonder: Is there a conspiracy
+suppressing the original rose diagrams? OftC is out of print, and
+peoiple seem to prefer that rose model. Can't *someone* here get the
+author's/publisher's permission to make diagrams of this one (very)
+popular model available????

No conspiracy, just not a big enough market to make it a no brainer for the
publisher to reissue/reprint/etc.  As for what is prefered, I think only the
people liking the OftC versio better have posted.  I actually find the "real"
model easier to fold.  I don't mean faster to fold, but easier.  The "real"
rose has more precreasing, but it doesn't have any of the OftC version's
hassles with holding the model closed.  And the "real" rose is much nicer, as
it uses some cute sinks to create the appearance (VERY effectively) of
additional petals.  As others have noted, there is a bug in the directions on
the web, depending on how you make it you can get a nice cylindrical "bud" or
a more open full rose.

+It is frustrating hearing how wonderful the OftC rose model is, when I
+have near zilcho chance of locating a copy of this book (at a reasonable
+price). I'm sure I'm not the only list member who feels this way. Has
+anyone tried to get permission to make diagrams of this model available?
+If I read once more how the OftC rose model is "simpler, easier, and
+nicer to fold" than the Rose II, I think I'll *scream*!!!

I think the main problem is that the publisher retains the copyright even if
they let a book lapse and don't keep it in print.  Hopefully OftC copyrights
will revert and the author can release the diagrams some other way.  But this
is really a publishing question, and has been written about here recently,
origami authors as a whole don't have a lot of clout with publishers.

+I think it really *is* a conspiracy to drive we 'have-nots' nuts. $^)

I know that feeling!

-D'gou





Date: Sat, 05 Jul 1997 00:11:48 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Biz card diagrams

First, a big THANK YOU to Rob Hudson,
who escorted some of my biz card models
to the OUSA Convention97,
and to Jeannine Mosley for emergency
supplies of biz cards when Rob's class ran out.

Marcia Mau mentioned that Rob had some "diagrams" from me, so
I wanted to clarify that, as I'm already just about overwhelmed
with email as a result of the Convention and my recent web page
update.

The material I sent Rob for the Convention with respect to the
Biz Card models wasn't really proper diagrams per se, except for
the biz card nautilus dish, and those diagrams only show how to
make the units, not how to assemble, assuming that anyone who has done
a Fuse 5 or 6 part box could probably figure out the rest of it.

Otherwise, what Rob had were some text notes on assembling the
new "system" from the older cuboctahedron units, plus sample
parts for the system, sample units for the waterwheel/turbine/star
gizmo, nautilus dish, etc. and a couple each of assembled models,
along with my blessing to disassemble them to figure out how
they were made.

The notes and partial diagrams wouldn't be much
help without the sample units and models, and obviously I can't
send everybody the samples.

The cuboctahedron "system" is so new, in fact, that I haven't
even had time to get photos on my web site, let alone do diagrams,
and besides I'm devoting my current origami time to geodesics and
other models I hope to take to PCOC in November.

Most of these biz card models are in my opinion, easier to
demonstrate/teach than diagram anyway, and the cuboctahedron
has traveled all over the world since its debut last year at Con96,
without benefit of diagrams, just ad hoc teaching by Jan Polish,
Marcia Mau and others, so I'm assuming the other things, once
launched, will sail off on their own likewise.

Apparently another one of my things also surfaced at the convention:
for a discussion of that, please see my separate post on the subject
of "Puzzle Ring Cube".

--valerie
Valerie_Vann@compuserve.com
  Mostly Modular/Geometric Origami Web Pages:
    http://people.delphi.com/vvann/index.html
    http://members.aol.com/valerivann/index.html
    http://ourworld.compuserve.com/homepages/valerie_vann





Date: Sat, 05 Jul 1997 00:12:07 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Puzzle Ring Cube (3 ring cube) at OUSAcon97

Marcia Mau of Wash.DC wrote that she learned and then taught around
at OUSA Conv.97 a cube from 3 rings and only just realized it must be
my Puzzle Ring Cube. She learned it from someone from Argentina.

I believe the "3 ring cube" is most probably my "Puzzle Ring Cube".
(Is this turning into a tradition: one of my
models showing up at OUSAConvention and wandering around incognito
among the underground after-hours activity? :-)

The "Puzzle Ring Cube" is an invention of mine that I first contributed to
the Origami-L as a sort of Holiday Present about a year ago last November.
I believe it was probably the Thanksgiving (USA) holiday, which was
probably bad timing, and a lot of people probably missed it. The original
text file and sketchy diagrams are in the origami-L archive. On my web
Pages there is a sub-page with more complete diagrams for a better
glueless origami version and photos of the Puzzle.

As Marcia commented in her notes to me, the model's name relates to
a form of jewelry ring commonly made in the middle east (I first saw
them from engineers who worked in the oil business in Iran and who
also found them in the markets in Egypt, usually of brass). These
rings are usually of 3 separate rings interlinked, which you can then
"nest" to fit together in a single ring that looks like a 3-strand
braid. I have one that where the 3 rings are of yellow, white and
rose colored gold. (I also had email once from a rather annoyed jeweler
who complained that the Web search engines kept directing folks to
my origami pages instead of his jewelry pages when they searched for
"Puzzle Rings"!)

Oddly, since contributing the Puzzle to the origami-L archive and posting
more complete diagrams to my web pages, I had little response
(there was someone who was stuck baby sitting a lab experiment over
the holiday weekend and was glad for the diversion :-) Now all of a sudden
it has surfaced. I thought when I invented it that it might be interesting
to math folks, but there wasn't much reaction, which was a little
disappointing.

I had an inquiry from a British math teacher just a
week ago. But it sounds as if the version wandering around the
convention is incomplete or not being assembled correctly.
(Perhaps Marcia can send me one.) The 2 ring and 3 ring versions are
described in the text pages on my web site and in the version
in the origami-l archive, but they were primarily so someone
could see how to link the rings and the the general principle
of the Puzzle before attempting the more difficult to assemble
final version, which is shown in photos on the web pages.

The "real" Puzzle Ring Cube has FOUR rings, with many possible
configurations and a number of solutions, two at least physical
solutions, and many color-mapping solutions, depending on how
the rings are colored, e.g. solid colored rings, 4 colors with
each ring using 3 colors, or 3 colors, with each ring using all
three, etc. The two physical solutions yield for instance, with
4 solid colored rings, (1)two faces with 4 colors and 4 faces with
2 colors; and (2) six 3-color faces.

There is another version that I haven't succeeded in diagramming;
I still have to construct them myself by trial and error. It is
sort of a 2-D to 4-D transformation model. It starts out in
"2 dimensions" as 4 strips of paper that are interlinked but which
will flatten into a plane. Then the 4 strips can be pleated into
the same 3-D configuration as the original 4 ring puzzle cube.
This then in transformed in time ("4-D") to various solutions as
a cube. So it is also a model of something that has various "states"
or dimensions, which changing surface area, and goes from zero
volume to a cube. Then it can be returned to the original planar
state. (Actually, I build them in the 3D form, then go to the plane).

It is possible to construct this version from
1 x 1.5 inch rectangular Post-Its (as I just discovered while waiting
for a huge AutoCad file to plot), but assembly is difficult and the
result is fragile. (I will work on a variation of the glueless origami
assembly of the original version for making this strip type.)

The 4-ring puzzle is rather a stinker to assemble, but fun to play
with. The original was of Post-It squares, which tends to fall apart
after a while, but the glue-less origami version in the diagrams on
my web site is more durable. And those primarily interested in the
"math" aspects of it can always use (gasp) glue. Or start with Post-Its
and add glue when the "sticky" part fails.

Oh: there is a mistake in the text part of the directions: my text editor
ran amok and replaced all the "Post-Its" with "Part-Its". I haven't got
the corrected version up yet.

The diagrams on the web site also have one page diagrams for a triangular
dish similar to one of the puzzle rings that can be made of Post-Its.
(I also make similar square/faceted boxes and containers, with lids.)
Oddly enough, I almost sent the Puzzle Ring diagrams along to the
Convention with Rob Hudson (who had my biz card stuff), and I did send
the triagular dish page, but figured the Puzzle would take too much
additional explanation and left it out. The triangular dish, by the
way, is only a parallel invention; I found it later in a Japanese book
by Takahama (glue needed for the bottom).

--valerie
Valerie_Vann@compuserve.com
  Mostly Modular/Geometric Origami Web Pages:
    http://people.delphi.com/vvann/index.html
    http://members.aol.com/valerivann/index.html (where the Puzzle is)
    http://ourworld.compuserve.com/homepages/valerie_vann





Date: Sat, 05 Jul 1997 00:36:11 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: Re: PDF format (What's It?)

>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.
>

>--valerie
>Valerie_Vann@compuserve.com
>

        Valerie has done a good job of explaining what pdf files is all
about.  It is a format which suits writers and users of origami diagrams
because using pdf files, unlike scanning in pages, produces accurate
representation of both texts and line drawings, and furthermoroe, keeps the
files very small.  In my experience, pdf files produced by using Acrobat
Distiller, is much more compact than those produced by other means.  One
page of my dollar bill horse produced using Canvas 3.1 required 66k of
storage, while the Postscript  version  required 99k and Distiller's pdf
only 17k.  I have previously tested Freehands's pdf output and found it to
be larger than Distiller's.  I am beginning to believe that Adobe is
reserving the high compression version of pdf files for those who invest in
the full Adobe Acrobat 3.0 package.
        As I see it there are ample reasons for producers of line drawings
to invest in the full package.  It includes a printer driver which provides
the option of creating a postscript file or a pdf version.  And this can be
done from any application.  The pdf vesion  is created by PSprinter calling
Adobe Distiller.  By PSprinter it is possible to skip the intermediate
process of first converting a drawing t I have also fouind that pdf files
print much faster than other versions.  Programs to change scanned images
to PDF are to be shipped soon to registered Acrobat 3.0 owners.  I am also
interested in the double digit text capability to read Chinese and Japanese
characters, which is promised  when it is ready.
        Pdf is not without its shortcomings.  For one thing I find it
difficult to manipulate drawings plus text using the Acrobat Reader or
Acrobat Exchange.
James M. Sakoda, origami dollar bill foldings in pdf form:
http://idt.net/~kittyv





Date: Sat, 05 Jul 1997 01:12:51 -0300 (ADT)
From: rhudson@netrax.net (Hudson-Robert)
Subject: errata and databases

Hi all-- I originally addressed this post to valerie, but it contains
useful information and discussion for everyone, so...

Valerie:

I think I'm going to take your suggestion and let the database idea die
slowly.  My main purpose in posting was to get help in keying, but as you
say, I could probably OCR the darn thing myself.  I know that I'm going to
use it responsibly, but can't guarantee anyone else will.  Thanks!

On the origami side-- I've dusted off my old version of Generic Cadd 6.0,
and I've started diagramming again.  I seem to recall you using that
program, and wondered if we might pool ideas and techniques.  I've defined
macros for "valley fold" and mountain fold lines which I assign to function
keys.  I set the line width, line type and line scale for the lines in the
macro.  It looks something like "lz,.08,lt,33,lw,1" for valley folds, using
scale in inches.

What a great program!  I notice you seem to get some thicker looking lines
in your diagrams.  Any ideas?  Do you have any cool shortcuts to share ?
I've become pretty proficient in diagramming with Cadd, and I'm really
sorry that it's not in the market in it's Generic Form any longer.

I'm in the process now of putting together a set of crease patterns for
business card forms to compare them against each other, and their resulting
shape(s) when assembled.  They're pretty interesting!

I noticed as well that Francis Ow's web page contains models that could be
folded out of business cards.  His "Y" module allows icosahedrons,
tetrahedrons and octahedrons to be made.  He actually folds a square into
"business card" proportions and then creates modules.  The excess paper is
used to pattern the finished model.

Whew! What a mouthful!

Rob





Date: Sat, 05 Jul 1997 02:06:05 -0300 (ADT)
From: rhudson@netrax.net (Hudson-Robert)
Subject: Convention 97- my summary!

Here goes... hold on to your pillows-- this could get sleepy!

General comments:
-----------------
During convention (and really, any other time), I become a nocturnal
creature, living from noon until 5am.  I'm really thinking about going "all
volunteer" next year, as I miss more than half of the classes anyway!

Thursday:
---------

I was up half the night Thursday hassling my roommate Joseph Wu to teach me
his new "turtle" model.  At about 3am Joe got this wild look in his eye and
began squawking like a crow.  He turned his turtle on its back and insisted
that you could eat cereal out of it.  When I scoffed at the idea, he
proceeded to do so.  I think it was Cheerios.    Tom Hull rolled in around
3:30, wearing a frock and tasteful pumps, and humming Marilyn Manson songs.
 He had just finished making about a million signs for convention, and
apparently, this tends to make a fellow a bit strung out.  I slept with my
door locked.

Friday:
------
Mark Kennedy knocked several times to wake me up for his trek downtown in
the morning.  At least, that's what they tell me. I was dead asleep.

Joseph woke me up around 9am by jumping up and down on my bed and making a
peculiar whistling sound.  I don't know how he got into the room.  We went
to the home office to help out with convention preparations.  On the way,
we stopped off at Mcdonald's for breakfast/lunch, where Joseph showed me a
trick with a french fry and a subway token that I can't describe in words.
We took a train into the museum, and tried to find the home office.  The
Origami USA office is one of those places like Narnia- if you're looking
for it, you'll never find it.  We passed the restroom and broom closets
about 6 times before we stumbled into the OUSA office.

There, Joseph and I teamed up against Kay Eng and Jun(e?) Sakamoto in a
bitter feud to see who could verify the contents of Convention name-tag
envelopes the fastest.  Joe and I were in the lead, until Kay knocked him
silly with a Yoshino tyrannosaurus skeleton.  While I dressed his wounds,
Kay and June finished their pile of envelopes and fled the scene of the
crime.  Several Englishmen arrived at the office, so I left the job in
their capable hands.

On the way back to FTI, I dropped by Kinokuniya and OCS.  When I reached
the college block, I looked across the street and noticed a wild-eyed
vagabond sporting a handkerchief on his head, screaming like a swashbuckler
and shaking his blond mane.  It was my roommate, Doug Philips.  We
exchanged pleasantries (which consisted mostly of the syllables,
"Arrrrrrrr", and "Aye!"), before parting ways. I headed to the local diner,
where I met up with Greg Thomsen, who treated me to a variety of showtunes
from "The Happy Fella"  I also stealthed a few digital photos of our
waitress, which will be available on the web later this week for a nominal
fee.

Later, I registered officially for the convention, purchased the obligatory
t-shirt, and also picked up a folding knife just in case I ran into trouble
in the suites that night.  I spent the rest of the evening in the company
of Bill Dollar, who introduced me to his latest business card models.  I
spoke with them for some time, before it occurred to me that they weren't
answering.  At that moment, I opted to go to bed rather than to endure the
silent treatment any further.  Thankfully, my roommates were asleep.  This
was a mixed blessing, however, as Doug snored like a chainsaw.  Actually,
it was rather like a buccanneer.  He spoke several times during the night,
using the voice of someone named "Polly"  I fed him a cracker and he
quieted down.

Saturday:
---------
I arrived on-site too late to ticket Saturday, as the bathroom was occupied
for two hours by several strangers who wandered in from across the hall.
They spoke in a series of clicks and whistles, as though communicating in
an insect like tongue.  I went back to sleep and prayed that they would
leave so that I could ticket.

I took Joseph Wu's turtle class, out of a morbid curiousity as to whether
he would make the crow sounds again this time.  I brought my own Cheerios
in case Joe decided to demonstrate the functionality of his model.  It's
really a great turtle-- the lock on the shell is superb!

In the afternoon, I crept into Jeannine Mosely's "star ball" class.  The
model is fantastic, holds together nicely, and has a beautiful finished
appearance. On the down side, you must have five arms to finish it, with
fifteen fingers on  each hand.  Fortunately, I was able to walk 3 blocks
across town for the surgery, which included a a free tattoo.

I ate dinner with Aimee Miura, Skyler Duveen, and some lady from Maryland
in an authentic Irish steakhouse.  The waitresses were stubborn, served
only cold potatoes and warm beer, and punched me in the face for looking at
them funny.  It was great.  I spent the evening running around Brooklyn
doing things that are probably irrelevant to the list, and most social
circles, and returned to the alumni lounge to fold with Bill Dollar.  This
time, his business card models talked back.  We had a lovely conversation,
which ended when I passed out on the table.

Sunday:
-------

I slept through ticketing Sunday morning, and missed my last chance to take
a Yoshizawa class.  This was probably for the best, though, as I have a dim
recollection of giving him an unsolicited piggyback ride back to his hotel
the night before.

In the afternoon, I taught Ted Norminton's daffodil. I was able to get
through the flower, and was about to teach the stem when the time ran out.
I was mobbed by a horde of slavering paperfolders who held out green
squares of paper, with the hope that they could extract the stem's diagrams
out of my frightened mind in the remaining 11 seconds.  I panicked and
tossed my only finished stem out into the throng, where it was torn apart
in seconds.  I was able to flee.  I hope that they offer an origami crowd
control class on next year's "techniques day".

I spent the next 45 minutes making up excuses for an impromptu class on
Valerie Vann's business card models.  When I arrived, I realized that I had
brought NO business cards with me whatsoever.  Taking pity on me, the crowd
took up a collection and sent three representatives upstairs to the Supply
Center for cards.  Vernon Isaac donated some from his stash to begin the
class, and we folded a water-wheel until the reps returned, empty-handed.
Someone went out on a wild crusade to find Jeannine Mosely, who brought us
enough cards to keep busy until Convention 2008, or until the next
iteration of the Menger Sponge.

The alumni lounge was packed that night, as folders spent their last
evening together in harmony--- literally.  R.C. Molinas (?) played the
guitar accompanyment for Jeremy Shafer, who treated the audience to a few
tunes.  Later, John Montroll joined him for a couple of Gilbert and
Sullivan numbers.  Six-year old prodigy Gus Black folded a working
harpsichord out of his name tag, and put everyone to shame.  Later, Gus
demonstrated another of his talents- licking Oreo cookie crumbs from the
table.  A gang of origami teens folded a triceratops skeleton, and posed in
front of it while making obscene gestures into my camera.

I went to sleep.  I left early Monday morning for home, but not before
breakfasting with Rona Gurkewitz, who showed me an amazing dancing spider
from a strawpaper.

That's my report!  Stay tuned for a new web page with amazing true photos
from the story, and some which are NOT from the story!

Rob

I didn't kill anyone, honest.





Date: Sat, 05 Jul 1997 11:43:28 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: Are complex models sculpturesque?

> > 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
>
> Actually, yes.  Robert Bateman's wildlife art is on the order of
> that realistic.  It took some convincing the first time I saw his
> work to believe that they were paintings...

The world of wildlife art parallels origami in many ways. Wildlife art is
pooh-poohed by mainstream art because it is representational (also some of it
is cutesy, so people who don't know the genre tend to lump it all together --
sound familiar?). Nevertheless, there is some incredible wildlife art work
that is truly art by anyone's definition.

In the current issue of Wildlife Art magazine, a letter to the editor says:

"The current wildlife art market is mostly filled with basic reproduction and
oftentimes tends to lean toward the anthropomorphic adaptation of the subject
creature...Fine art in any genre should be much more than mere decoration. It
goes beyond, into...indefinable areas...What is the point in the replication
of nature's forms?"

These words could describe the world of "wildlife origami" as well!

The discussion of "realism" and complexity in wildlife art also parallels
similar discussions in origami. Over and over in wildlife art publications,
interviewed artists describe how they started out striving for
near-photographic realism, then, as their artistic perspective matured, they
backed off from utter realism to focus on form, composition, use of light, et
cetera.

And I think the complex origami design world has gone through a similar
evolution. Once we have the ability to get realistic or anatomically correct,
we can then make the artistic choice of what to put in or leave out, what to
exaggerate or minimize. I know of no origami designer these days capable of
complex models who strives purely for "realism" -- all modify that goal for
aesthetic reasons, whether to make the subject more foldable, or to have
cleaner lines, or simply because having a simpler model is in itself
desirable.

In every artistic medium, the medium prevents the artist from achieving total
realism. Origami is more restrictive than many, but watercolor, scratchboard,
or bronze are also very limiting media. The pieces that I consider the most
artistic are the ones that don't try to directly overpower these limitations,
but that work with them so you can simultaneously see the subject and the
brushstrokes, with neither overpowering the other. The broad field of
wildlife art provides many examples of how other artists deal with the
limitations of their media, examples which one can use in origami.

Robert J. Lang
rjlang@aol.com





Date: Sat, 05 Jul 1997 13:34:25 -0300 (ADT)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: RE: Puzzle Ring Cube (3 ring cube) at OUSAcon97

Valerie,
    Just read your post and will check out your web page again.
But.. I learned the three ring Puzzle Ring from Marcia at the convention
and found two ways to assemble it into a cube, neither of which was
symmetrical, so I was going to work on it some more.

At any rate, having learned Post-It folds at the convention, I made the
cube out of 3 inch square Post It notes, using the adhesive to hold the
each ring together. The Post It paper is much stiffer than kami and the
rings held together during assembly (a problem without adhesive).

Glad to know who the creator is.

Rona





Date: Sat, 05 Jul 1997 22:04:39 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: RE: Puzzle Ring Cube (3 ring cube) at OUSAcon97

Dear Rona,

I'm feeling kind of overwhelmed with email, model/diagram
requests, etc., mostly as a result of the convention
right now. I was expecting some from the biz card models
that Rob Hudson took with him, but I had no idea that
the Puzzle Ring Cube was going to be floating around. I'm
getting a sort of deja vu feeling of last year's Convention.

So I'll have to think about the book inclusion. Perhaps
you could tell me more about the kinds of things you're
putting in the book, who's doing the diagrams, etc. I am
working toward a book of my own, or maybe just a CDROM full
of PDF file diagrams and photos. I have mixed feelings about
the publishing of English language origami books due to
lack of control plus I think that what interests me about
my origami is probably not what will interest publishers
and/or what they see as their market.

I hope you will try out the 4 ring cube made from the glueless
version diagrams on my web site. The 3-ring version isn't
really "it". And as I recall, whether put together as a chain
or with each link going thru the others, the 3 ring will produce
a cube in 2 physical solutions, but neither is symetrical.
Actually, I'd really prefer that the 3-ring version didn't get
propagated any more than it is already.

The "real" puzzle of 4 rings has also 2 physical solutions,
as I stated in my post and which are illustrated in the web site
diagrams. If you make each ring a different color, the 4 ring
puzzle has a solution with 2 4-color faces and 5 2-color faces.
The second solution has 6 3-color faces. It is also nicely
symetrical both opened as links and closed into a cube.

Unlike the 2 and 3 ring versions, the 4 ring puzzle stays closed
and secure as a cube in either physical solution, but can be
opened into the linked ring configuration and shifted to the other
solution, like a "real" puzzle.

Other possibilities, using different color schemes for the rings,
are suggested in the diagrams (and there are quite a few others),
but left as part of the "puzzle".

Since there was little interest in the model until now, I haven't
given much priority either to including better photos on the web
site (i.e. of a puzzle with solid colored rings, in both solutions.)
I have also just recently finally figured out how to consistently
build the more complex version that starts as flat strips that I
described in my post to origami-L, and I haven't diagramed that yet.

I'm trying to concentrate what free time I've got right now on
finishing the set of geodesic models and their diagrams in time
for PCOC.

What sort of "Post-It" origami was going on at the Convention?
I've got other Post-It thing too, so am curious about who else
is "into" Post-It models. I usually try to exploit the "sticky"
strip, not just work around it, by the way.

--valerie
Valerie_Vann@compuserve.com





Date: Sat, 05 Jul 1997 23:21:31 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: Double Dollar Bill Rose

        At the New York Origami convention I was given two Sakoda roses
folded into the two end squares of a dollar bill.  Right now I am into
dollar bill folds and at the convention taught two classes  The rose was
created when Rachael Katz complained that the chapter in the Origami Flower
Arrangement book which contained a section on some easy flowers was not
easy at all.  I started with the bird base, lifted up the four petals,
shortened them and then twisted them into a form which vaguely resembled a
rose.  It is much simpler than Kawasaki's rose and less well known, but
has beena  popular item that I have been asked to teach at the last couple
of conventions.    The idea of folding two roses with a dollar bill never
occurred to me, and as it turns out the excess space which is iess than
half the width of a square is enough to fold the  rose in the two squares.
This raises an interesting question as to the conditions under which two of
the same model can be folded  in duplicate in opposite ends of a dollar
bill.
        At any rate, I would like to get in contact with the creator of the
double rose version, but do not remember his name.  I have the convention
name list and any help in identifying his identity will help.   James M.
Sakoda, origami dollar bill foldings in pdf form:  http://idt.net/~kittyv





Date: Sun, 06 Jul 1997 00:18:22 -0300 (ADT)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: OUSAcon 97

I hope you all won't mind yet another description on the OUSA
convention, but I think my perceptions of the convention were a littler
different from others who have posted.  That doesn't mean anything bad -
this was the best convention I have been to!  It was well organized,
more relaxed, everyone was friendly, and the teachers were great.  I am
probably not into the complex folding as much as others, and didn't
participate in the late-night sessions, so that is why I have a
different story to tell.

Anyway, I arrived in NY Friday morning with my family on the train.  We
made the short walk down to FIT and checked into the dorms.  We were
scheduled to work setting up The Source (the book/paper shop) from 1-3.
We arrived just as the T-shirts did, and got to sort, count, and stack
them.  Then we unpacked boxes of books and began arranging the tables.
Phyllis Meth was very organized, and had written out labels for
everything that was to be sold.  Any books that we couldn't place due to
lack of English titles, we just had to ask her - She had every book
memorized.  This was more surprising when my husband mentioned that he
felt strange being at the convention when he doesn't fold, and found out
that Phyllis isn't a folder either.  Her daughter got her into running
The Source.  We ended  up working until 5:30, then running out for a
quick dinner as we had to be back at 6:30 to work Friday night
registration.  For anyone who registered Friday, my husband was the guy
with the beard doing crowd control, and my kids were handing out the
Annual Collections.  Once the kids were settled into their jobs, I ran
upstairs to spend way too much money on all the wonderful books and
papers we had seen while unloading them, and to preview the model menu.

The model menu always poses a dilemma - so many interesting classes, so
little time.  I guess that's why the after hours folding is popular.  I
had a hard time picking classes. but I did notice that some classes
listed as complex were of models I had folded (Kawasaki's Rose and Last
Waltz) and didn't find too hard.  Maybe the models were rated somewhat
more cautiously this year than in the past.  Also, there were new and
unique simple classes, like post-it note wreaths, Laura Kruskal's
convention crown, and letterfolds.

The crown is a story in itself.  My daughter is 8, and saw Laura come
into registration with a crown.  She thought it was wonderful.  Some
kind soul gave her one, and she was so proud she had me take a picture
of her wearing it.  Later on, we met a young girl (don't know her name!)
who taught us both how to make the crown, and my daughter was ecstatic.

Anyway, after working all day, we were beat, and turned in at the
relatively early hour of 11pm.

Saturday we were up early for breakfast.  My daughter asked for green
paper and folded it to look like the face of the Statue of Liberty on
the convention T-shirts.  Her first origami creation!  My husband and
kids worked registration again.  I went up for ticketing and changed my
mind for the 100th time, finally taking the Sonobe Workshop, Two-Tone
Ornament, Cat (taught by Sandy Toivonen), and Heart Box.  I didn't get
into the popular Star Ball class, but ran into Jeanine Mosely later in
the day hoping to offer to trade some Sponge units for diagrams.  She
very kindly gave me diagrams and a crash course in assembly.  NJ is
changing area codes again, so I expect to come into many outdated
business cards very soon!

The Sonobe Workshop was fun.  I worked with another Origami-l member who
I had met (Peg Barber) on learning 6 and 12 piece regular and dimpled
Ishibashi balls.  I recommend this course to anyone who enjoys modulars
- the Sonobe Unit and its variations are very versatile and Michael
Naughton seems to have tried them all.  He comes to the convention armed
with a large box of samples, too.  The Two-Tone Ornament was impressive
looking - we learned a 2 and 6 unit variation.  The cat class was
packed.  The model is very realistic, with a well shaped head and a
crouching body.  There seemed to be some disappointment in the class
when we found out it was a 2 piece model, but after doing modulars all
day, I didn't mind a bit!  I had folded VanGoubergen's cat at lunch and
thought it depended quite a bit on sculpting and experience in
proportions.  This cat was simple enough everyone left the class with a
great model.  Doris Asano taught the Heart Box, then provided candy and
supplies  (wrap and ribbons) to make it into an impressive party favor.

My family had tickets for the play "Titanic", so we missed the dinner
and night-time festivities.  For the record, the play was great.  I was
skeptical about it, but my son had read all the Titanic books, and as we
were spending his birthday at "my" convention, we took him to the play.

Sunday my family was again working registration.  I was lucky enough to
find someone who had taken another class I had debated for the previous
day - Fuse's Hexagon Box.  I had been asking people if they knew which
Fuse book the box was in.  No one seemed to, but I was able to learn the
box while waiting for ticketing.  I have since identified that it
appears to be from the Origami Gift Boxes book.  I was able to get into
the Yoshizawa class "Penguin/Seahorse".  I have already posted about
this class, so won't repeat here.  I also took the Poverty Folds class
with Karen Reeds.  After seeing her post here about needing magazine
subscription cards, I had to see what she would do with them.  This is
really an interesting area of origami exploration - the cards are not a
standard size or proportion, so the models had to be quite
"forgiving".   The Rose in a Box class was a Sakado twist rose in a Fuse
box.  I have never been able to make the twist rose come out right, and
ripped mine in class this time too.  Oh well.

This was the first year I was able to stay over and take classes
Sunday.  In past years I was always envious seeing the courses to be
taught Sunday and not being able to stay.  I definitely recommend the
extra day - whether you take in the city or stay up all night folding!

Janet Hamilton

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





Date: Sun, 06 Jul 1997 05:55:33 -0300 (ADT)
From: Brian Cox <briancox@mb.sympatico.ca>
Subject: Origami and music

E -GADS I'm actually posting
If you happen to be in the area the Winnipeg Folk festival will feature
Jonathan Baxter SE
Origami Festival in the Family Area. Jonathan will be performing on stage
( as if he needs
a stage) and helping out in the hands on activity area with Origami I
invite you all to take
a look at the home page which was updated June 27 my birthday (50) and
June
Sakamoto's (31)[ sorry June it slipped out]. There a few mistakes in the
up date. The
conference was in Wurzburg  where I spent 10 Fab days with Kunihiko
Kasahara before
the conference started.( I heard they would like to feature Joseph Wu).
Are there any
BARFy Origami jugglers out there, Paper  Magicians, check out
www.magic.mb.ca/~wff
and the Family Area on main page or e-mail me or them.Very nice family
event. No
alcohol allowed to be brought on site and they DO search all bags, but
there is a beer tent
where there is a limit of 4 a day that is punched on your wrist band, no
if's and's or butt's
or it will be removed . And no my used car is not for
sale....................... yet.

Family Area co-ordinator Brian Cox
a lurker
B:)





Date: Sun, 06 Jul 1997 09:22:54 -0300 (ADT)
From: Aimee Miura <aimeem@opihi.ohana.com>
Subject: origami sighting?!

Well, I haven't posted to the list in approximately forever, but I'm still
listening!

The convention was terrific, wonderful, exciting, too short, and
exhausting! It's always fun to meet the people on this list who have only
been names before. If only I could fly on mileage plus EVERY year..

I got home on Thursday afternoon, and that night we went to see a nutty
musical, "Prom Queens Unchained: the musical that gives you lunch" - wacky
stuff this, supposedly focusing on prom queen candidates for the Robert
Underwood (RU) High senior class of 1959.

Anyway, one of the characters is trying to bring her dead boyfriend back
to life, and when she reaches the point in her instructions where she is
supposed to use an ouija board, she says "But, I don't have an ouija
board.. I know, I'll use this!" and pulls out a cootie catcher(!) which
she uses to spell out his name each time she tries to resurrect him for
the rest of the play. Not exactly highbrow stuff, this, and certainly not
on the level of Nicholas Cage and the flapping bird ;) but since it even
got mentioned in the newspaper review I guess it was memorable
nonetheless.

No cute sig; I haven't got the energy..

Aimee
--
Aimee Miura
aimeem@opihi.ohana.com





Date: Sun, 06 Jul 1997 10:39:35 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re:  origami sighting in Nat. Geographic

I have found an interesting Origami Sighting in the new National Geographic.
 It is on one whole page and has three 5 pointed stars on it.  I have an idea
that John Montroll might have made them since he lives in that area.  If not
I wonder who did them.  Dorigami





Date: Sun, 06 Jul 1997 10:43:08 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Double Dollar Bill Rose

The creator of the two roses on the dollar bill is Rob Stix.  He is and
extremely inventive folder.  Look on the convention list for his address.  I
believe he lives in Tinton Falls and belongs to our group in Freehold as well
as to the Princeton group.  Dorigami.





Date: Sun, 06 Jul 1997 11:44:01 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: Sharks & lots of legs

Arjan Welles asked,

> 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?

Alex Bateman replied,

> Robert [Lang] 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

Alex gives me a bit too much credit. At the Birmingham convention I showed a
32-legged centipede and at the last OUSA I showed a 24 legged version. I've
generalized the _design_ of the 24-legged version to various numbers of legs
up to about 300, but I haven't actually _folded_ any of the others (which,
after all, is what counts).

Note that Marc K also has a 32-legged Canker Worm.

Robert J. Lang
rjlang@aol.com
