




Date: Tue, 15 Jul 1997 10:49:54 -0300 (ADT)
From: Bernie Cosell <bernie@fantasyfarm.com>
Subject: Re: origami tesselations

On 15 Jul 97 at 1:07, Helena Verrill wrote:

> I also wanted to ask about tesselations, since I've been
> doing quite a lot of these.  Mostly I make these up,
> with a question like "how can I make a repeating pattern
> of this shape", and I end up with things like patterns
> of different sized squares in different arrangements,
> ... I guess this only really
> matters when I want to say things like "I invented this
> tesselation", and wonder if I really should say something like
> "I stumbled on this tesselation".  If I want to write a web
> page on tesselations, and want to put my own tesselations
> on it, is that OK, or do I need to check how much they've
> been influenced by other designs; since even if I invent
> something, it might not be original.

I think there are many of us who like tesselations [and not just
using origami as a medium].  Folk sometimes use 'tesselations' to
mean different things.  The definition I lean toward is the covering
of the plane by a tiles fitted together without gaps or overlaps,
where the tiles only can be from a small number of different shapes.

As it turns out, if the tesselation is -symmetric-, then there are
only a handful [17, it turns out] of different ways to do it.  You
can vary the shapes of course [just look at Escher's work] but the
underlying pattern of the shapes will be one of the discrete groups.
If you want to play with this sort of stuff [and make your own
Escher-like patterns!] I highly recommend TesselMania Deluxe.
[you can check out http://www.mecc.com/products/lang/tmd/tmd.html ]

There are asymmetric tilings [Roger Penrose is noted for [among other
things] having found several aperiodic tilings] but the key is still
that the tiling only uses a 'vocuabulary' of a finite number of
distinct shapes to cover the plane.

> I've seen them refered to as "crystalographic flat orgamis", and
> that seems a far more accurate name to me; but perhaps it's
> a bit of a mouthful.

Indeed, and largely not correct.  Tesselations are often called
"crystallographic groups" because the same symmetries govern how
molecules fit together in a crystal.  Problem is that crystals
don't exist for -every- one of the possible [plane] tesselations, and
for crystals the 3-D structure is usually more interesting.  The math
is the same in 3-D as for planes [although a bit more complicated
because there are a few extra isometries]...  as far as I know, the
term "tesselation" only refers to the tiling of the plane... and as I
sit here thinking about it, I can't think of a similar term for
"bricking in 3-space".

> I would like to know what counts as a tesselation, or more
> specifically, what counts as a new tesselation - if I make a
> tesselation which has the same symmetries another
> tesselation, is it really the same tesselation?

>From a math standpoint, the answer is 'yes'.  I can't remember when
it was [do you, Tom?  late 1700s comes to mind, but my reference
books aren't at hand], but the complete enumeration of all of the
possible symmetries for -infinite- symmetric tesselations is
well-known.

>From an *art* standpoint, the answer is 'no'. [at least -my- answer
would be 'no'].

> ...   There is
> obviously something different between a tesselation of flowers and
> a tessleation of squares, but I'm getting a bit confused about what!

Right: to my view, the difference is in the art, but NOT in the math.
You may well have created a new artistic work, but you didn't
discover a "new tesselation".

NOTE: the situation is different if you are only concerned about
-finite- tilings.  There are an infinite number of -finite- tiilings
and you might well discover a new one.  Many of the islamic tilings
are of that nature [and *spectacular*].  For example, there is no
discrete group with a 5-fold symmetry.... BUT: you can make a
-finite- pattern with incredible and beautiful five-fold symmetry..

> Anyway, tesselations can be really simple, and a lot of fun, though
> I get the impression they are not the most popular thing to fold,
> So I'm probably going to do a web page on something like "tesselations
> made easy" at some stage.  Would be nice to be able to share them with
> more people.  Need to do some more work with them first though.

Do you fold them the way Chris Palmer does?  I've been trying to
puzzle it all out and I'd be amazed (but delighted!!!) if you could
figure out a way to have it "made easy".  I've been trying to think
through how the twist-polygons interact and where the folds and
pleats have to go and it does a good job of boggling my mind...:o)

  /Bernie\
--
Bernie Cosell                        bernie@rev.net
Roanoke Electronic Village





Date: Tue, 15 Jul 1997 12:38:41 -0300 (ADT)
From: helena@mast.queensu.ca
Subject: Re: origami tesselations

Thank you for the explaination Bernie; very helpful.

Hum; I've not worked out how to make Chris Palmers
tessleations easy to fold.
I have managed to show friends how to fold simple
tesselations; it is quite a challenge working out
how to explain some of them in a simple way, but I
hope I can.  Just giving a crease pattern is not
really very helpful; need to have more understanding
than that; for me I've got more understanding by
gradually working out more and more variations, so
something really simple gradually gets more complicated.
If you work up like that, rather than dive in with
the really complicated ones, it's probably a lot easier;
on the other hand, if you can manage them, the complicated
ones are good motivation for further investigation.
Chris Palmers class on tesselations at the convention
was very useful for me, but I was fairly well prepared
for it.

Helena
helena@mast.queensu.ca





Date: Tue, 15 Jul 1997 12:54:47 -0300 (ADT)
From: helena@mast.queensu.ca
Subject: origami classification, and napkin problem

Hello - more mathy questions here.

First, are there classifications of origami?  Presumably
first classification is in terms of base used?  What counts
as a base?  What do you do after you have the base?
I just heard that Kawasaki has a result about moduli space
of the crane - I think "moduli space" means variations of
the crane.  Would be interested to learn more about this.

Another question, about the napkin problem; I have folded
Robert Lang's model with perimeter bigger than 4 (and put a picture
on my web page, at http://www.mast.queensu.ca/~helena/perimeter.html)
But I was wondering about what other ways there are to fold
something with perimeter bigger than 4; are they all
variations on this kind of thing and the sea urchin idea?
Is there a least number of folds necessary to get perimeter
bigger than four?  Are there results like "with 7 folds, the
maximum possible perimeter is X"?  Is it possible to
classify origami models according to something to do with
their perimeter?

Helena
helena@mast.queensu.ca





Date: Tue, 15 Jul 1997 13:59:54 -0300 (ADT)
From: Eric Andersen <ema@techhouse.cis.brown.edu>
Subject: Re: origami classification, and napkin problem

On Tue, 15 Jul 1997 helena@mast.QueensU.CA wrote:

> First, are there classifications of origami?  Presumably
> first classification is in terms of base used?  What counts
> as a base?  What do you do after you have the base?

I suppose you can classify some models by the fundamental bases (kite,
fish, bird, frog) but my guess is that it would not be fruitful. I have
seen models which look very similar but are folded in two completely
different ways...but maybe this is like convergent evolution :-)

Also, so many models these days steer away from the traditional bases and
achieve amazing results. Most folders would tend to classify origami by
complexity or by type (animal, vehicle, etc) instead, IMHO.

"What counts as a base" is a good question; the traditional bases
certainly have a lot of new brothers, sisters, cousins, and so on!

-Eric  :-P
origami@brown.edu

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





Date: Tue, 15 Jul 1997 14:30:14 -0300 (ADT)
From: Dennis Walker <d_and_m_walker@compuserve.com>
Subject: Origami Omnibus

Hello,

        I recently tried to order Origami Omnibus from 'Waterstone's
bookshop. Today I received a letter saying that it was to be reprinted in
September and that they would let me know when it was available.

        I would at this point like to say that Japan Publications have on
one previous occasion promised a reprint of a book that they then
abandoned.  I hope that they do not intend to do this again.

                                        Dennis





Date: Tue, 15 Jul 1997 15:14:15 -0300 (ADT)
From: MSPARKS@pinkertons.com (MATTHEW SPARKS 05-025)
Subject: RE: Convention Memorabilia - Photos and

I would be more than willing to digitize all 274 pictures

Is there anyone who has enough space on a web site to display them all?

This is of course if you are willing to release them like that.

each picture could be saved as a gif in about 255K  then we could fit 4   on a
     diskette ( or if they were a little smaller 5 at 240K)

Which equates to about 66 megabytes of data plus html to display the   index.

Matthew Makaala Sparks                          Desk (818) 380-8712
Senior Technical Support Specialist             Fax  (818) 380-8677
Pinkerton Security & Investigation Services
15910 Ventura Blvd.; Suite 900
Encino, CA  91436                               Ham Radio KE6GVI
  email = MSparks@Pinkertons.com
 ---------------------------------------------------------------------
 Say "Plugh"...                                 "XYZZY"

 ----------
From:  origami-l[SMTP:origami-l@nstn.ca]
Sent:  Tuesday, July 15, 1997 2:35 AM
To:  Multiple recipients of list
Subject:  Convention Memorabilia - Photos and Vid

Hello folks.....especially Zachary Brown who
wanted a video of the panel discussion.......

Well......I was Mr Video man / Photographer at
the convention this year.  I took 274 pictures of
the exhibit models using some quality camera
equipment.  I just got the pictures back and they
turned out wonderful.

I also did a video of the Origami designers panel.
The panel was moderated by Jan Polish.  On the
panel were Joseph Wu, Robert Lang, Michael LaFosse,
Jeremy Shafer, Marc Kirschenbaum and John Montroll
discussing the nature of origami design....an interesting
discussion and those who have never met the designers,
interesting to see what they are like.

Anyway, if there is interest, I can see about making
copies.  Copies of the prints could get expensive and I
am not sure what would be the best way to allow you to
select which prints you might want.  If you have any ideas,
let me know.

If you have interest....why don't you e-mail me privately.

Allen Parry
parry@eskimo.com





Date: Tue, 15 Jul 1997 15:18:42 -0300 (ADT)
From: Lisa Hodsdon <Lisa_Hodsdon@hmco.com>
Subject: NORM Re: origami tessellations

Bernie Cosell (bernie@fantasyfarm.com) wrote in response to Helena Verrill:
>From a math standpoint, the answer is 'yes'.  I can't remember when
>it was [do you, Tom?  late 1700s comes to mind, but my reference
>books aren't at hand], but the complete enumeration of all of the
>possible symmetries for -infinite- symmetric tessellations is
>well-known.

I can't claim to be Tom, but I have a copy of _Tilings and Patterns_
by Grunbaum & Shephard at my desk.

"In the past, there have been many attempts to describe, systematize
and devise notations for various types of tilings and patterns. However,
without a mathematical basis such attempts could not succeed, despite
the sometimes prodigious efforts devoted to them." <This goes on to cite
several works ranging in dates from 1853 to 1953.> p. 12

"Some aspects of the geometry of tilings have been studied in the
literature. Kepler wrote on tilings in his book _Harmonice Mundi_ in
1619 . . . . But his investigations were largely forgotten till the early
years of this century. . ." p. 13

"The first systematic treatment of the regular and Archimedean tilings
is that of Kepler [1619] . . . he found all eleven Archimedean tilings and
showed that they are the only ones." p. 110 <Archimedean tilings are
those in which every vertex is the same type---the same number of
pieces meet at each vertex in exactly the same way. These include
the 3 regular tessellations.>

Because someone will ask, here's a full citation:
Grunbaum, Branko and Shephard, Geoffrey Colin. _Tilings and Patterns:
An Introduction_ (Abridged Edition) W. H. Freeman and Company, New York.
(c) 1989 ISBN: 0-7167-1998-3    LC catalog number: QA166.8.G783

I suspect the page references are early enough in the book that they
will be the same in the unabridged edition. I picked up a copy of the
unabridged edition for cheap from a remainder bin about a year ago.
There may still be some copies around---cheaper than the paperback
abridged edition and at least twice as big. Much more than the average
mortal really wants to know about tilings!

Lisa
Lisa_Hodsdon@hmco.com





Date: Tue, 15 Jul 1997 16:36:39 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Hint: carrying paper

On Mon, 14 Jul 1997, Nancy B. McNitt wrote:
> Old 5 1/4 inch PC disk  boxes work well when the plastic parts inside are
> removed.

Incidentally, I use a box for 8" disks for storing paper at home. It can
store paper as large as 20x20cm, and that's a normal format for me. But I
don't think that you can get a 8" disk box anywhere nowadays.
Unfortunately, 5.25" disk boxes are just 1/10" to small to carry 15cm
paper.

> Hint: Wooden coffee Stiring sticks work well for helping with squash
> folding, etc. Sharpen one end to a dull point before use.

I use a pair of thin chopsticks when working with tissue foil.

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





Date: Tue, 15 Jul 1997 16:37:30 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Success reports: Are they welcome?

Hi!

I have sometimes, upon completing a difficult/interesting model, felt
compelled to post a success report to the list. (Just recently after
folding Kawahata Fumiaki's Ankylosaurus.)

I wonder whether anyone is interested in such a report. I can well imagine
that a lot of people here would be bored by me raving about some
ultra-complex model I have just finished. ("Hey! Today I folded Robert
Lang's Blackdevil Angler from a 2" piece of handmade, hand-coloured piece
of mulberry paper glued to gold foil! Now I'm broke, insane, and I've
broken half of my fingers, my best pair of tweezers and a perfectly good
chopstick!")

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





Date: Tue, 15 Jul 1997 16:38:25 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Paper for a Camel / a Tiger

Hi!

I'd like to share a technique with you that I used to make paper for John
Montroll's Two-Humped Camel.

For this model, I glued mulberry paper to both sides of a piece of foil. I
used white mulberry paper, coloured with wallpaper paste mixed with
acrylic paint. (I had to mix brown and yellow paint to get a tone suitable
for the Camel.)

To mimic the ragged structure of a camel's skin, I sprinkled the wet paper
with coarse salt crystals. The salt soaks up the paint in its vicinity,
leaving a light spot, surrounded by a darker halo. (Those of you familiar
with silk painting will know this technique.)

The result was ... well ... very unusual. The paper is very thick, but
bendable, a bit like leather. (A friend of mine, Eduard Maier of
Karlsruhe, said that my normal mulberry-foil paper is a bit like leather,
but this paper was _much_ more like leather!) It seems that part of the
salt has soaked into the paper, leaving a thin salt crust on it. Very
spectacular. I like this model very much.

I'll see whether I can manage to take a picture of the model. Would anyone
of you volunteer to put it on his/her homepage? I also have to translate
an article about tissue foil which I'd like to publish on the 'Net. This
is not yet enough for a homepage of my own, so I'd like to publish it via
someone else's homepage.

Now I'm thinking about paper suitable for Nishikawa Seiji's Tiger. I
wouldn't want to paint stripes on it, because that's to, hm,
deterministic. It would take the focus from folding to painting the paper.
Perhaps I'll turn the Tiger into a leopard: dots are easier to produce
than stripes. I know that their anatomy is quite different, but I don't
think anyone would notice it. :-)

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





Date: Tue, 15 Jul 1997 17:30:22 -0300 (ADT)
From: LFHBMS@aol.com
Subject: Re: Success reports: Are they welcome?

success is always delightful .   Thanks for sharing your enthusiasm.  Laura





Date: Tue, 15 Jul 1997 17:32:11 -0300 (ADT)
From: LFHBMS@aol.com
Subject: Re: A new folder is born!

Congratulations-  How many ways do you think you can fold the diaper?   Best
to all the family   Laura





Date: Tue, 15 Jul 1997 18:25:34 -0300 (ADT)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: A new folder is born!

At 05:32 PM 7/15/97 -0300, LFHBMS@aol.com wrote:
>Congratulations-  How many ways do you think you can fold the diaper?

I do not know, but I would be sure to keep the coloured side on the inside
of the model.

Marc





Date: Tue, 15 Jul 1997 18:46:17 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: origami tesselations

Helena Verrill <helena@mast.queensu.ca> sez

>Would be interesting (to me anyway) to hear other's opinions about
>tesselations,

Have a look at Alex Batemans excellent efforts via the "diagrams" page
of the BOS page. Not multi-piece tesses (as I know them) but wonderful
repeating patterns formed from single sheets.

all the best,

Nick Robinson

personal email  nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - all new look!
BOS homepage    http://www.rpmrecords.co.uk/bos/
RPM homepage    http://www.rpmrecords.co.uk - now with real Audio clips!





Date: Tue, 15 Jul 1997 18:58:54 -0300 (ADT)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: origami tesselations

At 01:07 AM 7/15/97 -0300, Helena Verrill <helena@mast.queensu.ca> wrote:
>
>I also wanted to ask about tesselations, since I've been
>doing quite a lot of these.  Mostly I make these up,
>with a question like "how can I make a repeating pattern
>of this shape", and I end up with things like patterns
>of different sized squares in different arrangements, or
>I work out how to replace the squares with something else,
>for instance flowers, so I get a symmetric repeating pattern
>of flowers.  After spending quite a lot of time on this,
>I start to wonder "what am I doing?"  I got a bit confused
>about whether origami was creative in an artistic way, or
>maybe I'm not really creating anything, maybe it's more like
>solving a mathematical problem, or discoving something that's
>out there waiting to be discovered.  I guess this only really
>matters when I want to say things like "I invented this
>tesselation", and wonder if I really should say something like
>"I stumbled on this tesselation".  If I want to write a web
>page on tesselations, and want to put my own tesselations
>on it, is that OK, or do I need to check how much they've
>been influenced by other designs; since even if I invent
>something, it might not be original.

If you are going to get seriously involved with anything, I would think it
would pay to investigate what has been done previously. As for how creative
you are, that is for you to know, and for us to find out. It is often
difficult to determine if a structure was stumbled upon, or was engineered
towards a specific goal. With something like tesselations, I would want to
know which angles work well, to take much of the guesswork out of the
design process. If I were to have the creative idea of making a flower
tesselation, I would have to be very creative in my usage of tesselation
design techniques; that is, a portion of the design process requires
creativity. This is quite different than just randomly throwing together
the shapes that work with tesselations (although the results can be just as
aestheticaly succesfull).

>
>Another question about that was where does the word "tesselations"
>come from?  Who coined that terminology to refer to these things?
>I've seen them refered to as "crystalographic flat orgamis", and
>that seems a far more accurate name to me; but perhaps it's
>a bit of a mouthful.

My dictionary (Websters), indicates the word has been around since the mid
1700's. Origami teesalations have the same appearance as their more generic
counterparts, so the name stuck. I would be curious as to who made the
first origami tesselations.

>
>I would like to know what counts as a tesselation, or more
>specifically, what counts as a new tesselation - if I make a
>tesselation which has the same symmetries another
>tesselation, is it really the same tesselation?   There is
>obviously something different between a tesselation of flowers and
>a tessleation of squares, but I'm getting a bit confused about what!

If you are using the unit of someone else's tesselation, it would seem fair
to give cridit to that person when his/her work is utilized. If the folding
sequence is different, but the results are the same (externally), then it
is still a different model.

>
>Would be interesting (to me anyway) to hear other's opinions about
>tesselations, and about whether origami is invented or discovered, and to
>what extent it's math and what extent art, and what is it?
>

I really think it is a bit of both. Origami is math, insofar as the
mathematical techniques used to design/create it. I rarely use mathematical
techniques when designing, so for me, origami has nothing to do with math.
I do employ various algorithmic methods when approaching a subject, so
there is a design element in there. Almost invariably, I will have to be
creative in my approach to get the shape I am looking for (I sketch my
subject first with an origami-esque rendering prior to folding). This later
reative aspect is what makes arigami art (all forms of art have a deign
element that must be learned to the point of proficiency so you can move on
towards being creative).

>Anyway, tesselations can be really simple, and a lot of fun, though
>I get the impression they are not the most popular thing to fold,
>So I'm probably going to do a web page on something like "tesselations
>made easy" at some stage.  Would be nice to be able to share them with
>more people.  Need to do some more work with them first though.

Keep us posted on the URL..
Marc
>helena@mast.queensu.ca





Date: Tue, 15 Jul 1997 19:08:26 -0300 (ADT)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: origami classification, and napkin problem

At 12:54 PM 7/15/97 -0300, helena@mast.queensu.ca wrote:

>First, are there classifications of origami?

People love to classify things; I won't even start on this one.

Presumably
>first classification is in terms of base used?  What counts
>as a base?  What do you do after you have the base?

A base for a model (to me, anyway), is the folded structure that has all of
the needed (or major) appendages present, without anything else. I tend to
custom make a base for a given subject, rather than the other way around.
Some people keep libraries of bases they might have either stumbled upon,
or previously developed. If you can somehow keep them origided in terms of
point location and number of points, you can search for an appropriate base
for a desired subject.

Making the base come alive into the form of your desired subject is often
one of the more creative aspects of origami. if you have a specific design
issue, I could try to help you out. Good luck.
Marc





Date: Tue, 15 Jul 1997 19:21:50 -0300 (ADT)
From: Dennis Brannon <brannon@jamin.enet.dec.com>
Subject: RE: Success reports: Are they welcome?

Success or failure reports are welcome.
We all learn from sharing our successes and failures.

>("Hey! Today I folded Robert
>Lang's Blackdevil Angler from a 2" piece of handmade, hand-coloured piece
>of mulberry paper glued to gold foil! Now I'm broke, insane, and I've
>broken half of my fingers, my best pair of tweezers and a perfectly good
>chopstick!")

That shows its:
1. possible to fold the model from the directions in the book
2. the choice of paper that worked well with this model
    (that too can lead to another discussion)
3. the state of mind of the folder afterwards 8^)
4. that tools were used
5. what tools were used.
6. points out a model that at least one folder on the list
    found a worthwhile challenge.

But its the last one that I find the most useful.  There are lots of models out
     there
and a personal recommendation of a good model to fold, has led me several times
to try that model for the first time, or to now have enough information to
     figure out
why I failed with a particular model in the past, and to try it again.

Sebastian's posts have been very helpful to me to learn new techniques
for dealing with paper for complex models.  If its going to take days to fold,
it had better look good afterwards 8^))))))

Hmm...I'd better check on how the Microwave origami is coming along :-)
[Wet folding using a microwave oven - another technique from origami-l]

thanks,
dennis

---
Dennis Brannon
brannon@jamin.enet.dec.com
Ayer, Massachusetts USA





Date: Tue, 15 Jul 1997 19:28:58 -0300 (ADT)
From: Allen Parry <parry@eskimo.com>
Subject: Re: origami tesselations

Marc,

> My dictionary (Websters), indicates the word has been around since the
mid
> 1700's. Origami teesalations have the same appearance as their more
generic
> counterparts, so the name stuck. I would be curious as to who made the
> first origami tesselations.

Better take another look at that dictionary....its spelled "tessellation"
8^P

According to my discussions with Chris Palmer, if I can recollect, the
first person was
Fujimoto.

Allen Parry
parry@eskimo.com





Date: Tue, 15 Jul 1997 22:12:25 -0300 (ADT)
From: Michael LaFosse <michael@origamido.com>
Subject: Re: origami tesselations and Chris Palmer

Just a quick note:

Chris Palmer will be visiting us at the Origamido Studio from July 16 -
July 22.  Mostly we will be working on a video documentary of his work.
We will likely schedule a class with him for up to 20 people.  The
possible dates are from Saturday July 19 - Monday July 21.  Let us know
what date is best for you.  We will e-mail you directly for the final
date and time.  The Origamido Studio is located at 63 Wingate Street -
Haverhill  Massachusetts - (508) 372-1215. It is one block from the
Haverhill "T" stop.

The Yoshizawa exhibit at the Peabody Essex Museum is up till the end of
July.  The exhibit is displayed in an area of the museum that is free
and open to the public.

-Michael LaFosse





Date: Tue, 15 Jul 1997 23:31:43 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: whistle that works

     Marcia Mau wrote to me and asked Do you know how to make the sound w/
the whistle?  Someone posted today that Palacios was able to get his to
work.  Wish I could say the same for my
whistle.  I took a course from Vincente Palacio at the New York convention
which included the whistle and his made a loud clear sound while I was only
able to get a little noise.  Later when I tried to make more whistles I
generally had difficulty getting much of a sound out of them.
     I went to the town library and in the New Grove Dictionary of Music
and Musicians I found the information that I needed to make my whistles
work.  The whistle and the flute work on the same principle:"an air column
confined in a hollow body and activated by a stream of air from the playing
lips striking against the sharp edge of an opening, producing what
acouticians term an 'edge tone.'"  The article did not go into the
mechanical details of just how the sound was created, but this was
sufficient for me to greatly improve on the whistles I was making.
     Palacio used a 3 x 8 set of 3/4 inch squares, with about 5/16th of an
inch cut off at one end for the hole and the edge at which the stream of
air was to be directed.  Instead of cutting off the end to create the
opening, I cut out a portion from the middle end square only, leaving the
two corner squares intact. I noticed that in the diagram of instruments the
edge was sloped down at a slight angle, rather than remaining straight.  On
the tin whistle that I had this slope was also present, being created by
the circular form of the air chamber.  I therefore added a mountain fold
about 1/4 of an inch from the edge of the cut opening to fadilitate a
slight drop in angle of the crucial edge.  After completing the folding of
the whistle I pressed down on the ends of the opening to secure the edge
into a sloping position.  Then I put a tootpick or a fingernail file into
the mouthpiece and directed it at the edge, positioning the mouthpiece or
the edge so that the stream of air would hit the edge.  The width of the
opening could be varied between 1/8th and 1/4 of an inch.  If there is any
kind of hissing noise the prospects of success is good.  Try moving the
mouthpiece up or down.  If not successful try folding another one, taking
care to make the folds accurately.
     Palacio provided 3 x 8  grids printed on cardboard stock, which worked
well.  He also printed three sets of diagonal creases, indicating where
folds were to be made.  I bouight Springhill brand vellum Bristol cover
plus 16000 at Staples, which worked well.  I precreased all of the crease
lines to insure accurate folding
James M. Sakoda, origami dollar bill foldings in pdf form:
http://idt.net/~kittyv





Date: Wed, 16 Jul 1997 00:17:01 -0300 (ADT)
From: ladyada@tiac.net (joyce saler)
Subject: Re: origami tesselations and Chris Palmer

Michael
I would vote for Monday, the 21st but if Saturday is the only time, then
count me in.
By the way, I have your Concord and Lincoln schedules and will be at the
Concord meeting. I look older than your class in Lincoln.
See you soon.
Joyce





Date: Wed, 16 Jul 1997 00:40:13 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: RE: Convention Memorabilia - Photos and

On Tue, 15 Jul 1997, MATTHEW SPARKS 05-025 wrote:

=I would be more than willing to digitize all 274 pictures
=Is there anyone who has enough space on a web site to display them all?

I believe that Allen has already had them digitised. At least, I hope he has,
since I asked him to! If so, I should be receiving them shortly, and I will,
with his permission, be putting a selection of them up on my web site. Of
course, OrigamiUSA also has dibs on those photos since they were taken at the
convention with their blessing. So I believe that they retain at least some
amount of control over the use of those photos. We should check with Jan
Polish before making them publically available.

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





Date: Wed, 16 Jul 1997 01:14:47 -0300 (ADT)
From: Postcards <postcards@postcards.com>
Subject: CD boxes

On the topic of making boxes, I sort of found out by accident
that the octagonal box from one of Tomoko Fuse's books, when made
with 15cm paper, is just the right size for holding the CD ROM's
that always seem to be loose on my desk.

While not delicate, CD's are certainly susceptable to damage,
but it seems you are always putting one in and taking one out,
even with 2 5 disk changers and a total of 8 CD drives attached
to the machine.

I used to stack them gently as neatly as possible between papers,
and in layers as I used them.... But always risked loss or
damage between changes.

Now they stack and sit neatly in different colored 'trays' until
called on again.

Not a commercial success, I'm sure, but certainly a useful thing
on my desk.

-rsp-





Date: Wed, 16 Jul 1997 02:32:49 -0300 (ADT)
From: Steve Woodmansee <stevew@empnet.com>
Subject: Re: Hint: carrying paper [sticks]

>On 09:18 AM 7/14/97 -0300, Nancy B. McNitt wrote:

>Old 5 1/4 inch PC disk  boxes work well when the plastic parts inside are

>removed.

>Boxes from Fedex will hold larger sheets. Boxes for photos can also be adapted.

>I then use boxes fom copy paper to hold all of the smaller boxes. These can

>be cut down if you wish a shorter size.

>

>Hint: Wooden coffee Stiring sticks work well for helping with squash

>folding, etc. Sharpen one end to a dull point before use.

>

>Glenn McNitt

>

If you go in the makeup section of a Wal-Mart type store you can find a cuticle
     tool that is perfectly suited for Origami projects.  It's a little bit
     smaller in circumference than a chopstick and it has a tapered end.  It's
     great for working with small f

               Origami:  "Welcome to the fold"

                     Steve Woodmansee

                     stevew@empnet.com

                    Bend, Oregon

            <bold>http://www.empnet.com/woodmansee

</bold>





Date: Wed, 16 Jul 1997 05:29:57 -0300 (ADT)
From: HOLMES DAVID MARCUS EXC CH <david_marcus.holmes@chbs.mhs.ciba.com>
Subject: RE: Convention Memorabilia - Photos and

>> I would be more than willing to digitize all 274 pictures
>> Is there anyone who has enough space on a web site to display them all?
>> This is of course if you are willing to release them like that.
>> each picture could be saved as a gif in about 255K  then we could fit 4
>> on a diskette ( or if they were a little smaller 5 at 240K)

You should really use jpeg format for photographs to increase the
colour reproduction.  Gifs only store 256 colours.

>> Which equates to about 66 megabytes of data plus html to display the
>>index.
>>
>> Matthew Makaala Sparks

Dave

>--
>David M Foulds       | Novartis, Inc. Views expressed are my own
>dmfoulds@bigfoot.com `------------------------------------------
>Dave's Origami - http://www.geocities.com/Tokyo/2162/
>Other Stuff    - http://www.fortunecity.com/tattooine/clarke/25/
>
>Please note my change of surname and email address, current name
>in header fields notwithstanding.





Date: Wed, 16 Jul 1997 06:07:55 -0300 (ADT)
From: "Bateman A. G." <agb@mrc-lmb.cam.ac.uk>
Subject: Re: origami tesselations history

>> I would be curious as to who made the
>> first origami tesselations.

> According to my discussions with Chris Palmer, if I can recollect, the
> first person was
> Fujimoto.

This is interesting, Yes, Fujimoto seems to be the first to have used
twist folds, but Yoshide Momatani was creating tessellations from
non-twist units at about the same time.  I think it was kawasaki who,
later,  introduced a new type of twist fold called iso-area.  This is
all from memory and not from primary sources (Sorry John, David).  I
never was very good at history.

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: Wed, 16 Jul 1997 07:19:05 -0300 (ADT)
From: DLister891@aol.com
Subject: Tessellations

I have been very interested by all the postings on tessellations and am
carefully filing them all in my archives. May the discussion continue about
this  interesting, and, I think, important backwater of paperfolding.

I felt inspired to contribute something myself from a hisorical point of
view. As usual, it has turned out longer than I intended, but I will send it
anyway. I apologise if anyone thinks it is too long or if it has congested
people's mail boxes. (Does this, in fact happen?)

If you think I'm being too verbose, let me know and I'll try to restrain
myself in future.

I haven't forgotten that I promised a piece on Douhohtei Nakano. It is
written, but needs a bit of adjustment. I'm afraid it, too, is longer than it
should be. perhaps I will send it in instalments.

David Lister.

Grimsby, England.

DLister891@AOL.com

                      -------------------------------------------------------

TESSELLATIONS.

There are tessellations and  tessellations. The word comes from the Greek for
a small quadrilateral tablet used as a token or a tally. It became applied to
the small stones used in mosaics and from these became applied to tiles used
for floors or to decorate walls of buildings. The most advanced tiling of
this kind was done by the peoples of Islam, because their religion forbade
them to use representations of people or living creatures for decoration; and
the finest of all Islamic tessellations are generally accepted to be those in
the Alhambra Palace at Granada in southern Spain. As the word is used today,
a tessellation is a pattern made up of separate tiles, sometimes of one shape
and sometimes of a mixture of shapes.

There has been an extensive study of tiling patterns in mathematics and
numerous books and papers have been written. The bible of the subject is the
magnificent "Tilings and Patterns" by Branco Grimbaum and G.C. Shepherd, (It
may still be in print, although I was astonished to get mine as a remaindered
copy) and the High Priest of the subject in Roger Penrose, the Oxford don and
writer about artificial intelligence, who (in his spare time) was the
discover of non-periodic tiling patterns. Penrose contributed to a big
symposium on Escher at Rome in March 1985 and was one of the editors of the
simply splendid book of Proceedings.

Tessellations in paperfolding are somewhat different. They are not made up
out of separate tiles, but out of a single sheet of paper. There are two
principal stages. First a pattern is drawn or directly creased on the sheet
of paper. Although this is not made up of separate tiles, it can,
nevertheless, regarded as the pattern of a composition of separate tiles.
Secondly, the paper is creased in mountain and valley folds along the lines
of the primary pattern, and when this has been done, the paper is "collapsed"
into a second tiling pattern, which appears quite different from the first
pattern. The second pattern is usually two-dimensional, but three-dimensional
forms can be folded. This is what is generally regarded as the completed
paperfolded tiling pattern or tessellation. It is remarkable, because it
still retains hidden within its folds the original tiling pattern! There is
another bonus, too. If the paper used is semi-transparent, a third rich
shadow pattern is revealed when the paper is held up to the light.

The principal western folders investigating paperfolded tiling patterns today
are Chris Palmer and Tom Hull of the United States and Alex Bateman of
England.n Chris is an artist, while Tom and Alex are mathematicians.

The originator of this kind of paperfolded tessellation was Shuzo Fujimoto of
Japan. It appears to have been discovered by him in the course of his
investigations into what he called "Twist Origami". (Although the "twist"
itself in paperfolding appears to have been discovered by Yoshihide Momotani
somewhat earlier and used by him in his earlier books on folding flowers.)

Fujimoto is a school mathematics teacher and a delightful and approachable
person. His book, "Twist Origami" was home-made and reproduced on a copying
machine in 1976. Many of the models are abstract and flower patterns and it
is possible to see them verging towards true tessellations. In addition,
however, there is one page of illustrations of tessellations of the
fully-developed kind. More tilings, some of them three-dimensional, appear in
Fujimoto's "Twist origami 2", dated apparently 1983. Yet more appear in
"Solid Origami" a professionally printed paperback of 1976. Fujimoto's most
extensive treatment of tessellations is in "Sozo Suru Origami Asobi", a
hard-backed book of 1982. This is one of the small number of truly great
origami books, but it's distribution in the West has been very limited and
sadly, I understand it is now unobtainable, though I hope I'm wrong in this.
All of Fujimoto's books are in Japanese. Fuimoto himself discovered how to
disclose the hidden patterns in the folding by using semitransparent paper
and holding the completed pattern up to the light.

Notwithstanding the prevalence of origami tessellations folded from a single
sheet of paper, another kind of tiling has been used in paperfolding. In this
individual shapes are folded and then arranged in a pattern in exactly the
same way as tiles are fitted together to form a floor-surface. It may have
been done before, but the example with which I am most familiar came about in
this way.

In his younger days, before the Second World War, Maurits Escher, the Dutch
graphic artist (1898 - 1972) visited the Alhambra Palace and was immediately
fascinated by the Moorish tiling patterns which pervade the building. He
studied them closely, and made copies. Subsequently he devised his own very
imaginative pictorial tiling patterns, often building them into works of
remarkable imagination. The vogue for Escher's work (which is still
continuing) started in the early 1970s and in April 1975, the spring
convention of the British Origami Society was held in London.  Visiting
Foyle's bookshop, I came across "The Graphic Work of M.C.Escher". I had never
before seen anything like it and I  promptly bought it. I was keen to show it
to other members of the Society (at breakfast, I think!) and it was an
immediate hit. Everyone who saw it was enthusiastic and Escher obviously
appealed to the "origami mind". Mick Guy (now the president of the BOS), in
particular was fascinated, especially by the periodic tiling patterns, and he
began to reproduce similar patterns from folded paper. It was not easy to get
the subtle angles right, but he achieved some success.

Then in1976 the Arts Council of Great Britain held an important and
impressive exhibition of Islamic Art in London and it featured charts showing
the mathematical basis of Islamic tiling. About the time of the exhibition,
the was a rush of remarkable books on the subject of Islamic patterns, some
of which I bought. Mick Guy visited me and studied them closely to try to
find new patterns which could be reproduced in paperfolding. So successful
was Mick that he had several of his origami tessellations framed and hung
them about his house in Birmingham. The became a regular feature of BOS
exhibitions.
So far as I know, nobody else took up this kind of folding with any great
enthusiasm and eventually Mick, himself, tired of it.

Mick's tilings were, of course, very different from those of Fujimoto and his
followers. But it would be a pity if this  fascinating backwater of origami
were to be forgotten. Someone might still like to take it up again.

As for Escher, there have been numerous books. One of the best on his tiling
patterns is "Visions of Symmetry - M.C, Escher" by Doris Schattschneider,
published by Freeman in 1990.

David Lister     16th July 1997.





Date: Wed, 16 Jul 1997 08:23:30 -0300 (ADT)
From: Allen Parry <parry@eskimo.com>
Subject: Re: Convention Memorabilia - Photos and

The concept of making reprints has been discussed with OrigamiUSA and right
now I am evaluating how much interest there is in them.  So far I have only
a handfull interested.  I can tell you right now, to get reprints of the
entire set (274) would be expensive.  So far I have had more interest in
the Origami Designers Panel Discussion in both video and audio.  After I
have heard from what people would like, a decsion will be made on how they
will be made available and those who have privately e-mailed me will be
notified.

PCOC is also talking about using some of the pictures to produce a
calendar.  Proceeds from the calendar will help establish the on-going
presence of a West Coast convention.

As far as digitizing the pictures and putting them in the public
domain....the answer is no.  OrigamiUSA and I spent too much money in
taking the pictures and we do need to recoup our costs.

Allen Parry
parry@eskimo.com

----------
> From: Joseph Wu <origami@planet.datt.co.jp>
> To: Multiple recipients of list <origami-l@nstn.ca>
> Subject: RE: Convention Memorabilia - Photos and
> Date: Tuesday, July 15, 1997 8:40 PM
>
> On Tue, 15 Jul 1997, MATTHEW SPARKS 05-025 wrote:
>
> =I would be more than willing to digitize all 274 pictures
> =Is there anyone who has enough space on a web site to display them all?
>
> I believe that Allen has already had them digitised. At least, I hope he
has,
> since I asked him to! If so, I should be receiving them shortly, and I
will,
> with his permission, be putting a selection of them up on my web site. Of
> course, OrigamiUSA also has dibs on those photos since they were taken at
the
> convention with their blessing. So I believe that they retain at least
some
> amount of control over the use of those photos. We should check with Jan
> Polish before making them publically available.
>
>  Joseph Wu - origami@planet.datt.co.jp - http://www.datt.co.jp/Origami
> > It's your privilege as an artist to inflict the pain of creativity on
> yourself. We can teach you how WE paint, but we can't teach you how YOU
> paint. There's More Than One Way To Do It.
> > Have the appropriate amount of fun.    --Wall, Christiansen, Schwartz





Date: Wed, 16 Jul 1997 10:56:44 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@erols.com>
Subject: Re: Printing

Dennis Walker wrote:
>
> Hello,
>
>         I've just downloaded a number of Post script files from Joseph Wu's
> page. Using Ghostview, I can print most of them,  but I am having
> difficulty printing the modular chessboard and Santa patterns. Noticably
> both use colour. The Santa won't print at all, the chessboard is
> unreadable.
>         Can anyone help?

Do you mean Best's chessborad and Casey's Santa? I have no problems
(well with deleting some of the left over huge spooling files in my
/temp directory) to print them out using Ghostscript. I believe you can
find pdf version of chessboard in Alex Barber's page. As for Casey's
Santa Alex or someone can help you out to get pdf version.

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





Date: Wed, 16 Jul 1997 11:36:22 -0300 (ADT)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: Tessellations

David Lister, reporting on the historical aspects of tesselations, wrote:
+anyway. I apologise if anyone thinks it is too long or if it has congested
+people's mail boxes. (Does this, in fact happen?)

I can't speak for anyone else, but I am hardpressed to see how you
could shorten your musings without removing useful materials.  I very
much enjoy them.

+I haven't forgotten that I promised a piece on Douhohtei Nakano. It is
+written, but needs a bit of adjustment. I'm afraid it, too, is longer than it
+should be. perhaps I will send it in instalments.

Installments are fine too.  I'd rather read the full text than have you
shorten it to fit one small message!

+TESSELLATIONS.

+Tessellations in paperfolding are somewhat different. They are not made up
+out of separate tiles, but out of a single sheet of paper.

+Notwithstanding the prevalence of origami tessellations folded from a single
+sheet of paper, another kind of tiling has been used in paperfolding. In this
+individual shapes are folded and then arranged in a pattern in exactly the
+same way as tiles are fitted together to form a floor-surface. It may have
+been done before, but the example with which I am most familiar came about in
+this way.

+Mick's tilings were, of course, very different from those of Fujimoto and his
+followers. But it would be a pity if this  fascinating backwater of origami
+were to be forgotten. Someone might still like to take it up again.

As I have never seen any tesselations identified as Fujimoto's, I can't say if
this is redundant or not...

In a semi-recent issue of ORU there was some wonderful photography of
what might have appeared to be very "Palmer-esque" tessellations.
However, what is most striking about these models is that they are
assembled from individual pieces, each one having distinct, but subtle,
color differences from its neighbors.

I will have to look up this issue for details...  my recollection was
that unlike the tilings of Mick's that David reports, the ones pictured
do not appear to be regular shapes that fit together edge to edge, but
rather seem to be "units" of twists that fit together as if they were
creased and folded from one large piece of paper.

-D'gou





Date: Wed, 16 Jul 1997 11:47:06 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Paper for a Camel / a Tiger

On Tue, 15 Jul 1997 Doug_Philips@transarc.com wrote:
>       Did you color the mulberry before or after you glued it to the foil?

I always colour my paper before glueing it to foil. I guess that it also
works the other way around, but I'm afraid that the glue might come apart.

>       How did you glue the mulberry to the foil?  Spray Adhesive?  ???

Yes, I use 3M Spray Mount, an artist's spray glue.

>       When you said "coarse salt crystals" do you mean the salt that you'd
> use on food?  Coarser?  Finer?

I used some very coarse salt for use in grinders.

>       Consider talking to the origami.net folks (origami@origami.net) about
> setting up space for your stuff.  A home page doesn't have to be a gigabyte
> of stuff.  Start with what you have and grow!

The problem is that I'm notoriously unreliable, so my homepage could
quickly become the worst-maintained page on the net, and I certainly
wouldn't want that. Besides, I don't have a scanner or something, so I'd
have to have everything scanned in for me. Well, I'll think about it.

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





Date: Wed, 16 Jul 1997 12:11:21 -0300 (ADT)
From: Bernie Cosell <bernie@fantasyfarm.com>
Subject: Which fujimoto book do I have?

Reading David's account of tesselation-orgami got me, again, digging
through my book collection and I retrieved the fujimoto book on this that
I have.  It is very strange -- it looks like it was photocopied onto
newsgroup or something like that.  Lots of intriguing pictures of flowers
and tesselations and twist folding patterns and such.

How might i figure out which one of the ones David mentioned it is?  [I
can't read it or really make heads or tails out of it, but now I'm
curious...  it is 72 pages long and if that is actually some kind of
copyright info it was printed in 1976.  the very first fold is a hexagonal
twist that makes a sort of star, and the next fold is what seems to be the
same star, but this one is at the end of a rod make a sort of magic-wand.
The next few pages has a bunch of fascinating pinwheels and double stars
and such, but for each there is just a diagram and a paragraph of japanese
to its right [I assume the paragraph describes how to vary the pinwheel
from the previous page to make the various pretty forms].

This book is piqueing enough and opaque enough that I'm almost goaded
to try to figure out how to translate some of it... [tried it once before,
years and years ago, with a pile of GO books... all a dismal failure.]

On that topic: does anyone know of a set of references and procedures for
doing some kind of "dictionary translation" of Japanese?  Is it doable?
[I know we've talked here about origami books in Japanese and how one can
generally muddle through and figure out what is going on. I *guarantee*
you that that's not going to be very successful with Fujimoto's book! :o)]

  /Bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--





Date: Wed, 16 Jul 1997 12:12:16 -0300 (ADT)
From: Bernie Cosell <bernie@fantasyfarm.com>
Subject: Small footnote on tesselations

Tiny followup: after the previous post I double checked my always-failing
memory and there are, indeed, 17 planar symmetry groups.  Three are
regular [triangles, squares and hexagons, where all faces and vertices
are equivalent].

There are eight Archimedean tesselations [where all vertices are
equivalent, but the faces vary... for example if you tile a plane with
"stop signs", there'll be small square gaps in between to complete the
tesselation.]  since the vertexes are all equivalent, these can be
characterized by a 'picture' of a single vertx -- the # of sides of the
polygons around it, in order.  the six are (3, 12, 12), (4, 6, 12),
(4,8,8) [the stopsign one I mentioned above], (3, 4, 6, 4), (3, 6, 3, 6),
(3, 3, 3, 3, 6), (3, 3, 3, 4, 4) and (3, 3, 4, 3, 4).

There there are six others and they're not "less symmetrical" than the
above, but just have more complicated symmetric relationships.

Also, the proof I was trying to remember about this was that of Fedorov
from 1891 [ok, so it was the late 1800s, not 1700s... sue me... :o).]
This all from "Regular Figures" by Fejes Toth (1964).  In looking this up,
I hadn't really taken note on previous readings [but I should have been
able to guess] that the Alhambra has examples of all 17 --- so the moorish
artists/mathematicians knew of the complete set of symmetries.

 /Bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--





Date: Wed, 16 Jul 1997 12:28:27 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: origami tesselations

Allen Parry wrote:

   According to my discussions with Chris Palmer, if I can recollect, the
   first person (to do origami tessellations) was
   Fujimoto.

When was that?  David Huffman was doing origami tessellations in the
late 70's or early 80's.  He spoke on the subject once at MIT, and
while I missed that talk, I learned one of his tessellations from a
friend who heard him.

Huffman has been discussed on the list before for his experiments
with curved creases.  He is the same Huffman who invented Huffman
coding, although I once previously stated otherwise.  I was wrong.  I
apologize.

        -- Jeannine Mosely





Date: Wed, 16 Jul 1997 14:19:48 -0300 (ADT)
From: Postcards <postcards@postcards.com>
Subject: Digitized Images

>Date: Tue, 15 Jul 1997 11:12:01 -0700
>From: MSPARKS@pinkertons.com (MATTHEW SPARKS 05-025)
>To: origami-l@nstn.ca (origami-l)
>Cc: parry@eskimo.com ('parry@eskimo.com')
>Subject: RE: Convention Memorabilia - Photos and
>Message-ID: <1997Jul15.111000.1972.25553@PNK-SMTP.pinkertons.com>
>
>I would be more than willing to digitize all 274 pictures
>
>Is there anyone who has enough space on a web site to display them all?
>
>This is of course if you are willing to release them like that.
>
>each picture could be saved as a gif in about 255K  then we could fit 4
on a diskette ( or if they were a little smaller 5 at 240K)
>
>Which equates to about 66 megabytes of data plus html to display the   index.
>
>Matthew Makaala Sparks                          Desk (818) 380-8712

If you converted them to JPG files, the sizes would about 50-80k each, some
a bit
larger, maybe.  If you kept the sizes at 200x300 or 300x500  the sizes
would be
small.  We've fit as many as 30 good sized images on a floppy.

I also can't believe that all 274 images would be worth sharing ;)  But if
people are interested, and the files be made into JPG files, we might be able
to find room for this, at least temporarily.

Remember, that when you put up a lot of large images, it's not just the
disc space,
but the bandwidth to transmit them.  The larger the images, the longer it
takes the
server to push the images out, AND the longer it takes for a person to
download and
view the images.  So, smaller is better for everyone, on every end of the
line.
Especially if a bunch of people will be trying to grab them at the same time.

Besides, a 66 meg transfer would take 6-8 HOURS on most lines, more on
congested
ones.  If the sizes could be cut to 12 or 15 meg, it becomes only about 1-2
hours
to download, a much more reasonable proposition for folks.

-rsp-
origami@origami.net





Date: Wed, 16 Jul 1997 15:02:46 -0300 (ADT)
From: Mike and Janet Hamilton <mikeinnj@concentric.net>
Subject: Re: Convention Memorabilia - Photos and Video

Allen Parry wrote:
> I also did a video of the Origami designers panel.
>
> Anyway, if there is interest, I can see about making
> copies.

I might be interested in the video (depending on the cost).

Janet Hamilton

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





Date: Wed, 16 Jul 1997 15:33:00 -0300 (ADT)
From: DLister891@aol.com
Subject: Re: Which Fujimoto book do I have?

Bernie Cosell asks what Fujimoto Book he has.

It is evident from the description you give, Bernie that you have "Twist
Origami".

It seems to have come out in two editions, but i haven't closely compared
them to see if there are any changes. Presumably you have the original
edition, because the later one has "Twist Orgami" in English above the
Japanese title on the front cover. The second edition is also designated with
a Roman "I" after the Japanese title.

There was also a "Twist Origami 2", but that only has 52 pages and is
dated1983.

David Lister.

Grimsby, England.

DLister891@AOL.com





Date: Wed, 16 Jul 1997 16:50:41 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: (NO): Thanks from an exhausted daddy

Hi all,

just a big THANK YOU for all the congrats both via private
e-mail and on origami-l. Things are getting a bit hectic
these days; our son decided he LOVES diaper changes and
poops every other minute...  other than that, he's a
perfect darling <g>.

Matthias,    folding dirty diapers in a neat ball and
             slamming them into the bin across the room
