




Date: Wed, 16 Jul 1997 16:51:36 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: A new folder is born!

LFHBMS@aol.com wrote:
> Congratulations-  How many ways do you think you can fold the diaper?

There's only one way: With my nose firmly closed! <g>

Matthias





Date: Wed, 16 Jul 1997 18:22:24 -0300 (ADT)
From: Jorma Oksanen <tenu@sci.fi>
Subject: Re: Tessellations

On 16-Jul-97, DLister891@aol.com (DLister891@aol.com) wrote:

>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 would hate to know that you've left something untold just because you
think your contribution is getting too long. They prove that even if it's
rare to see quality and quantity together, it's possible.

[Warning: words c*t and gl*e are used in the text below] 8P

I have a book in Finnish, I think it's name would translate to
something like "M.C. Escher Caleidocycles". It was written by Doris
Schattschneider and Wallace Walker, I believe in German, in 1977.
The book itself was printed 1992 by Benedict Taschen Verlag Berlin
GmbH. It is about caleidocycles (3D ring made of tetrahedrons) but
goes beyond that, putting Escher's tesselations on the surfaces so
that they connect seamlessly when caldeidocycle is rotated. It also
has 16 models printed on cardboard, ready to cut and glue together.
Six of them are polyhedras (all 5 Platonian solids and cuboctahedron)
and rest are caleidocycles. The book has a lot of interesting text
about tesselations and their mapping onto polyhedra.

I don't know if it has been published in English, or what the
original's ISBN is. The Finnish edition: ISBN 3-89450-302-5.

The above didn't do justice to the book - if you're even remotely
interested in tesselations, get this book if you see it.

Jorma "twisting again" Oksanen
--
Jorma Oksanen   tenu@sci.fi

They say I'm negative and indifferent, but I refuse to care.





Date: Wed, 16 Jul 1997 18:32:30 -0300 (ADT)
From: Eric Andersen <ema@techhouse.cis.brown.edu>
Subject: tessellations on my Web site

Hi everyone! I have two tessellation images on the web, both folded by
Tom Hull. The first one is Toshikazu Kawasaki's open-back square twist
tesselation grid, as seen in his paper, "Crystallographic Flat Origamis".
It is folded with glassine paper:

http://www.netspace.org/users/ema/origami/kawasaki.jpg

The second one is also a Kawasaki design, I think. It's also folded by
Tom; maybe he can give a better description of this?

http://www.netspace.org/users/ema/origami/3p12sq.jpg

-Eric  :-P
origami@brown.edu

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





Date: Wed, 16 Jul 1997 18:44:59 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Tessellations

On Wed, 16 Jul 1997, Jorma Oksanen wrote:

> I would hate to know that you've left something untold just because you
> think your contribution is getting too long. They prove that even if it's
> rare to see quality and quantity together, it's possible.

I think most of us agree!

> I have a book in Finnish, I think it's name would translate to
> something like "M.C. Escher Caleidocycles". It was written by Doris
>
> I don't know if it has been published in English, or what the
> original's ISBN is. The Finnish edition: ISBN 3-89450-302-5.

M.C. Escher's Kaleidocycles has been published in English, French, and
Japanese. At least, those are the versions I've seen. I would assume that
it has been translated into many more languages than that.

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





Date: Wed, 16 Jul 1997 21:10:06 -0300 (ADT)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: Success reports: Are they welcome?

Dennis Brannon wrote:
+Success or failure reports are welcome.
+We all learn from sharing our successes and failures.

Here here, post 'em here! ;-)

+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.

I very much agree.  I have folded several models based on seeing the final
model, which I had previously passed up because I didn't like or
believe the final diagram "picture".  Similarly, based on messages to
origami-l, I have gone "back" to fold models that I had already passed
on, and am glad I was given a second chance.

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

Please, do tell.  I'd think it wouldn't take very long! ;-)

-D'gou





Date: Wed, 16 Jul 1997 23:45:15 -0300 (ADT)
From: "James M. Sakoda" <James_Sakoda@brown.edu>
Subject: Origami in Black Ship Festival

     The Black Ship Festival this year occurs on July 25-27 in Newport,
Rhode Island.   Among the many varied events to commemorate Japan and U.S.
relationship will be lessons in origami.  Ms. Keiko Nabb will be teaching
from 11.45 am to 1.15 pm in Tent B, Touro Park and from 3.00 to 4.15 pm  in
Tent B, Touro Park on Saturday, July 26. .
      I am scheduled to teach a class in intermediate to advanced class  in
Touro Park, Tent B on Sunday July 27 at 1.00 - 3.00 pm.    I will be
concentrating on dollar bill folds, including the giraffe and six point
star figures, patterned after the eight point star figures in Modern
Origami.  In the giraffe the two missing points are resurrected by means of
the stretched bird operation.  The six point star figures include a horse (
pegasus without wings), the dachshund and the swan.  I will also teach the
whistle which I learned at the New York convention from Vicente Palacio.
There is a $5 fee and registration is recommended, but this can usually be
done at class time.  For registration and information please call (401)
846-2720.  Substitute dollar bills and diagrams will be provided for the
dollar bill figures.
     There are many varied events, many of them not requiring a fee.
James M. Sakoda, origami dollar bill foldings in pdf form:
http://idt.net/~kittyv





Date: Thu, 17 Jul 1997 10:46:11 -0300 (ADT)
From: DLister891@aol.com
Subject: Dokuohtei Nakano.  Part One.

Here is the first part of the notes on Dokuohtei Nakano that I promised.

I hope the length of it doesn't inconvenience anyone.

Please let me have all corrections and additions.I have, no, doubt reached
incorrect assumptions and omitted much that could be included. Only if you
write to me will i have the data to do better next time.

David Lister.

Grimsby, England.

DLister891@AOL.com.

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

Dokuohtei Nakano burst on the scene of Paperfolding in 1969, when he issued a
circular in English announcing his forthcoming Correspondence Course of
Origami in English. The Course was to be divided into three, each having four
lessons and each spread over four months. The cost of each part of the course
was to be US$ 40, a not inconsiderable sum in those days.

At that time. Paperfolding was still largely divided between, on the one
hand, Japanese Origami which was noted for its natural style and artistic
elegance exemplified by the superlative work of Akira Yoshizawa, and, on the
other, by  paperfolding in the West, where the actual folding was in
comparison often frankly  clumsy, but which, under the leadership of folders
like George Rhodes, Jack Skillman, Adolfo Cerceda, Neal Elias and Fred Rohm,
had developed a pioneering virtuosity of technique  which had distanced
Western folding from that of Japan. Dokuohtei Nakano introduced western
techniques of folding into Japan and presaged the present age, where Japanese
techniques are just as complex and in some aspects even more complex in than
in the West.

Nakano was born in 1929 and had an early ambition to be an artist. He trained
at the Tokyo Art University and became a high school art teacher. After some
years, however, he felt dissatisfied with the usual media of art and was
looking for a new art form in which he would be able to express himself.
Around 1966, he discovered Origami and immediately plunged into an intensive
study of it, starting off from the traditional folds which had been known in
Japan for centuries. He said that he found that his years of training in art
had given him an appreciation of proportion and balance which enabled him to
make rapid progress.

To his artistic approach, however, Nakano added a liberal admixture of
geometry. He put the systematic investigation of bases at the heart of his
studies and proceeded to extend the range of bases in a way that astonished
the paperfolders of the time. While folders like Neal Elias, Fred Rohm and
Eric Kenneway had succeeded in escaping from the bonds of the classic bases,
most paperfolders of the day still did not question the idea that bases lay
at the heart of all paperfolding. The 1960s were accordingly still dominated
by the classic radial bases: the diamond, fish, bird and frog bases. The
regular blintzed bses had been discovered. Occasionally folders experimented
with other forms and, in particular, Akira Yoshizwa, to his great credit and
for all his expressed dislike of geometrical folding, had published crease
patterns in which the classic bases or parts of them were combined in the
different halves of quarters of the same square.

Nakano took up this idea and systematically worked out bases which combined
fragments of different bases. For instance, one half of a square would be
bird base and the other half , frog base. Or the square might be subdivided
into differently-creased quarters or other divisions. He devised a code of
letters and numbers to designate them and by doing so pointed the way towards
a new freedom in folding. His inventiveness was not at all confined to the
bases he devised. He went on to use those bases as springboards for the
creation of numerous ingenious and convincing models, almost wholly of
animals and birds. (Although nuns had a particular fascination for Nakano.
His  first Chinese Course contains a whole convent full of them!)

The first fruits of Nakano's fertile industry  were published in  his
Correspondence Course of Origami in Japanese, which appeared  in 1968 or
1969. (Robert Brokop saw a copy when he visited Nakano in Japan  in May and
June 1969). The total consists of 154 large pages of 35mm x 25mm in
horizontal format. The pages are printed in an electronic process of only
fair quality and are mainly of diagrams which were apparently drawn by Nakano
himself. Altogether its preparation must have been an enormous feat of
industry.

Having completed the course in Japanese, Nakano went on to prepare a version
in English. In this version, the selection of models is considerable
different from those of the Japanese version and only about 65 models were
duplicated. All the drawings were redrawn. The printing was done on a liquid
electrostatic copier, and was somewhat clearer than in the Japanese version.
The size and horizontal format remained the same, although there were
additional pages of explanation in English at the beginning and end and
before each section.  254 models were described in nearly 2000 diagrams. The
English version appeared under the name of the Dokuohtei Nakano Origami
Institute in 1970 in a limited issue of 150 copies. The original edition was
accompanied with photographs of some of the models and actual folded examples
of all of the models. A supply of high-quality washi paper was also included.
It was a truly sumptuous and remarkable production. I missed the original
version, and the copy I received was without the photographs, folded models
or washi paper, but I also received the Japanese version. I counted myself
very fortunate to have these remarkable documents and immediately had them
bound. The version without frills continued to be advertised in the Origami
Companion throughout its existence.

Because the format of correspondence courses was chosen, the total number of
copies issued was very small, and perhaps because of this, Nakano's Origami
Courses did not have the impact that they might have had if they had been
published as ordinary commercial books  But would such a book have been an
economic proposition? I remember that Robert Harbin obtained a copy and a
very few members of the British Origami Society saw it, but not enough to
make any great impact. This was certainly what happened in the West, but I
have been unable to discover what influence Nakano's work had on folders in
Japan. He seems to have worked in comparative isolation and did not mix very
much with other folders. Nevertheless, it would be remarkable if his vast
pioneering work had no influence at all.

One person who did receive a copy was Gershon Legman then living in France.
To say that he was impressed would be an under-statement. He wrote a long
eulogy several pages long which filled a special edition of the Origamian
issued  at the end of 1971. In it Legman enthusiastically praised both the
manner of production and also the paperfolding and model content of the
Courses.. Gershon Legman had watched the growth of modern folding from its
origins which derived from his own researches and his discovery of the work
of Akira Yoshizawa and Ligia Montoya. He had seen how the identification and
specification
 of bases had enabled western paperfolders to make remarkable advances in the
creation of models. In fact his own perception of the nature of paperfolding
had developed before folders had  begun to free themselves from the
restrictions that the bases themselves imposed and he found it difficult to
move onwards from this viewpoint. At his request, I sent him specimen animals
folded for him  by David brill, Max Hulme and Martin Wall.  They were largely
free-folded and if they had bases, they were merely steps in the folding
sequences. But Legman continued to plead for the "bases" to be recorded and
published.

Here in the work of Nakano,  Legman's appetite for bases was satisfied beyond
all expectation. Moreover, the bases were intelligently used to create a huge
variety of interesting models. Legman's praise for Nakano became unstinting.
He wrote: "A new artist in paper-folding has now arisen who can be compared
without any hedging or weighting of terms to Yoshizawa" and "As Yoshizawa is
and must always remain, the Beethoven who liberated origami, Nakano is its
Bach, and his monumental 'New Correspondence Course' is the Well-Tempered
 Clavichord of the art we love". Legman later admitted that by making
excessive comparisons such as these, he greatly hurt Mr. Yoshizawa, whom he
had introduced to the West through the great exhibition of Yoshizawa's work
in Amsterdam in 1955.

To be continued.

David Lister.  17th, July, 1997.





Date: Thu, 17 Jul 1997 11:33:53 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Tessellations

On Wed, 16 Jul 1997, Joseph Wu wrote:
> M.C. Escher's Kaleidocycles has been published in English, French, and
> Japanese.

FYI, there is also a German edition of that book. (Doris Schattschneider,
Wallace Walker: "M.~C.~Escher Kaleidozyklen". Kln: Benedikt Taschen,
1992).

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





Date: Thu, 17 Jul 1997 11:37:33 -0300 (ADT)
From: Dennis Brannon <brannon@jamin.enet.dec.com>
Subject: Yoshizawa books in English?

Many years ago, I bought a Yoshizawa book called
Origami Museum 1: Animals
ISBN 0-87040-737-6
(c)1987 by Akira Yoshizawa
Published by Kamakura Shobo Publishing Co., Ltd., Tokyo, Japan
US distributor: Kondansha International/USA, Ltd. through
Farrar, Straus & Giroux, 19 Union Square West, New York 10003

The book is in English translated by Hiroko Ichiyama and Mary Kiyono.

Are there any other Yoshizawa books available in English?

I've learned a lot from the paragraphs that accompany each model, and
feel like I'm missing something when I fold from a book in Japanese,
since I can't read Japanese.

I assume this book is now out of print.  Anyone know of plans to republish it?

Other books by Akira Yoshizawa(from the last page in the book):
Origami Geijutsu (Art of Origami)
Origami Tokuhon 1 (Origami Reader 1)
Origami Tokuhon 2 (Origami Reader 2)
Tanoshii Origami (Joyful Origami)
Origami Ehon (Origami Picture Book)
Yasashii Origami (Easy Origami)
Utsukushii Origami (Beautiful Origami)
Origami Hakubutsushi 1 (Origami Museum 1)
Origami Hakubutsushi 2 (Origami Museum 2)
Haha to Ko no Tanoshii Origami (Joyful Origami for Mother and Child)
Sosaku Origami (Creative Origami)

thanks,
dennis

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





Date: Thu, 17 Jul 1997 12:05:17 -0300 (ADT)
From: John Marcolina <jmarcoli@cisco.com>
Subject: RE: Kawahata's Dinosaurs.

At 11:45 AM 7/7/97 -0300, Brett Askinazi wrote:

>I have Dinosaur Origami 1 and 2.
(snip)
>Dino 2 contains about 10 models in the same difficulty range only, most of
>the Dinos are from one sheet of paper,
(snip)

I've been looking for Kawahata's Dinosaur Origami 2 since reading this post,
but can't locate it anywhere (including Fasc. Fols and Sasuga). I checked
the archives to see if this book was discussed in the past, but came up
empty. Brett (anyone), where did you find this book?

John Marcolina
San Jose, CA.
jmarcoli@cisco.com





Date: Thu, 17 Jul 1997 14:13:45 -0300 (ADT)
From: MSPARKS@pinkertons.com (MATTHEW SPARKS 05-025)
Subject: semi success story

my wife and I got involved in a church project that once a week gets some
underprivileged kids a good dinner, and helps them with there homework.
of Course its summer so they just do arts and crafts now.

I brought a bunch of papers and sat down at a table and started folding.   The
 kids were a little leery of a new adult. (especially a guy). I folded a
     throwing
star and of course that got the interest of some of the boys. they came   over
     to
 see what  I was doing. So to get more paper I tipped out a box that   already
had a folded crane, waterbomb, cootie-catcher and airplane.

There were many Ohh can I have that? my answer was, No but I teach you to
make one. Pretty soon we had a crowd going. we folded waterbombs,   throwing
stars but we had to quit in the middle of the crane. for dinner, next   week we
     will
some more.

Anyone have similar stories?

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"





Date: Thu, 17 Jul 1997 14:14:23 -0300 (ADT)
From: MSPARKS@pinkertons.com (MATTHEW SPARKS 05-025)
Subject: color boats

At lunch yesterday,I was folding some easy folds for showing kids, and a
     co-worker
(who is 1st generation japanese) saw me and we talked about folding. he
     mentioned
a bunch of folds he new. a lot were ones I new too, so that was neat.

but he mentioned folding boats out of a special paper, so that when you
     floated them
in water, the ink ran out making streaks and swirls in the water before   it
     defused
and the boat got waterlogged and sank.

That was all he could remember about the paper. but he thought it was a
     common way
to play with origami boats.

Anybody else no what this is? I looked in the archive but no luck.

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"





Date: Thu, 17 Jul 1997 14:14:42 -0300 (ADT)
From: Eric Andersen <ema@techhouse.cis.brown.edu>
Subject: Re: Origami in Black Ship Festival

On Wed, 16 Jul 1997, James M. Sakoda wrote:

>       I am scheduled to teach a class in intermediate to advanced class  in
> Touro Park, Tent B on Sunday July 27 at 1.00 - 3.00 pm.
> ...
> There is a $5 fee and registration is recommended, but this can usually be
> done at class time.  For registration and information please call (401)
> 846-2720.  Substitute dollar bills and diagrams will be provided for the
> dollar bill figures.

I have just called to sign up for the class; make sure when you call that
you specify the correct day and time...it seems that they didn't even know
about an origami class on Sunday until I told them the times!

I am looking forward to this...is anyone else from the list attending?

-Eric  :-P
origami@brown.edu

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





Date: Thu, 17 Jul 1997 14:40:40 -0300 (ADT)
From: John Smith <jon.pure@paston.co.uk>
Subject: Eric Kenneway

I have recently been looking again at Origami 4 by Bob Harbin. This has a
superb collection of models although it is now over 20 years old they still
seem as fresh as ever.There is an introduction by Eric Kenneway in which he
says ` Origami is essentially a private matter, a communion between the
folder and his square of paper as he searches for new aesthetic experience
through folding.  
 
My appreciation of Kenneway's work and views has grown over the last few
years. I am deeply sorry that he is longer with us he contributed so much to
Origami. I find the message he puts forward in this book a very satisfying
one. It seems to me to be in line with the ideas of Lilian Oppenheimer,
Alice Gray, and Michael Shall amongst many others.  
 
At the convention in New York I attended the panel discussion on design in
Origami. I was surprised by the very strong emphasis put on the final result
and the need to educate people to appreciate what had been achieved by the
folder. I found it difficult to understand why many people seem so concerned
with receiving acclamation from the general public for the final model they
have folded.  In some cases there is even the suggestion that since the
model to a long time to fold it should be sold at a high price. I shudder
when I recall someone enquiring in Origami-l how could he make money with
Origami. 

I belong without reservation to the idea of paper folding being an art to be
experienced and enjoyed for it's own sake, not a pursuit for some sort of
sculpture which might be accepted in art galleries and presumably be sold
for a lot of money. 

This is why I am at one with Nick Robinson when he tells us to share not sell. 

Am I alone in these views, except of course, for Nick,bless him.

John, the humble and non-rigorous Smith.
John Smith
Norwich
England
e-mail  jon.pure@paston.co.uk





Date: Thu, 17 Jul 1997 15:36:05 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Art for self or art for money (was Re: Eric Kenneway)

On Thu, 17 Jul 1997, John Smith wrote:

> says ` Origami is essentially a private matter, a communion between the
> folder and his square of paper as he searches for new aesthetic experience
> through folding.

A nicely misleading subject, John. 8)  You might also wish to quote
Kasahara when he says that origami is a game we play with paper and that
we call it an art only because we want to feel good about ourselves.
(I'll have to look up that reference).

> At the convention in New York I attended the panel discussion on design in
> Origami. I was surprised by the very strong emphasis put on the final result
> and the need to educate people to appreciate what had been achieved by the
> folder. I found it difficult to understand why many people seem so concerned
> with receiving acclamation from the general public for the final model they
> have folded.  In some cases there is even the suggestion that since the
> model to a long time to fold it should be sold at a high price. I shudder
> when I recall someone enquiring in Origami-l how could he make money with
> Origami.

What you bring up is not new, nor is it restricted to origami. The
question of whether art should be done for the sake of art, or if it
should be sold to make money is an old one. There will always be people
on both sides of the debate, and also people like me, who want the best
of both worlds.

> I belong without reservation to the idea of paper folding being an art to be
> experienced and enjoyed for it's own sake, not a pursuit for some sort of
> sculpture which might be accepted in art galleries and presumably be sold
> for a lot of money.

Consider any artist's situation. In order to devote all of one's time to
an all-consuming passion, one must be able to make a living off of it.
Otherwise, one must necessarily devote some time to other pursuits in
order to put food on the table and to pay the bills. Granted, artists are
traditionally poor, and their works do not gain value until after they
are long gone, but origami artists are handicapped by the fact that the
general public does not place any value on origami and considers it a
children's pastime. And now we must face others in our own community who
condemn us for wanting to find a way to make a living doing what we love
best. Why is that?

Consider, John, what your concept of "sharing" really means. Artists do
not get credit for their hard work and inventiveness. Artists are stolen
from, sometimes indirectly (e.g. when people photocopy origami books
instead of buying their own). Others make money off of the work of the
artists (e.g. when people sell the models they have folded from books and
other instructions). Some artists do not have a problem with these
issues. Nick Robinson, for one, consistently puts his works out in the
public domain. But what irks me is the attitude that benefitting
financially from one's creativity is wrong. Why not also tell off all of
the painters and sculptors and any other artists for selling their works?
It seems to me that this kind of "sharing" is really rather selfish.

I've said it before, and I'll no doubt have to say it again: origami is
sharing. Sharing is a voluntary activity. Forcing people to share is selfish.

I've said too much again, and I apologise for the tone of this message.
But remember this. If we don't take care of those in our own community,
we destroy that community.

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





Date: Thu, 17 Jul 1997 16:30:54 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: color boats

MATTHEW SPARKS 05-025 wrote:
> but he mentioned folding boats out of a special paper, so that when you
     floated them
> in water, the ink ran out making streaks and swirls in the water before   it
     defused
> and the boat got waterlogged and sank.

In Switzerland (and Germany too) there's a brand called "Duo Color";
made out of recycled paper and colored with watercolor. It tends
to color-bleed even as I fold it. Makes for colorful fingers;
it's a bug in my opinion, but for your purposes it might be a
feature <g>. So much for ecologically OK Origami paper...

Matthias, diaper folding

P.S.: Report from the water basin:
DuoColor boats sink before the colors bleed. Too bad.





Date: Fri, 18 Jul 1997 03:38:14 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Art for self or art for money (was Re: Eric Kenneway)

Joseph Wu <origami@planet.datt.co.jp> sez

>But what irks me is the attitude that benefitting financially from
>one's creativity is wrong.

I for one have no issue with that, but some people seem to think that
recreating *other people's* work *without asking* and selling it is in
some way being creative.

Here's to a short thread!

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: Fri, 18 Jul 1997 05:19:11 -0300 (ADT)
From: Mr & Mrs Owen <djowen@pcl.net>
Subject: Origami Not Valuable? (Re: Art for self or art for money (was Re: Eric
 Kenneway))

Joseph's words hit on something close to my heart.  People around my city
do not understand or appreciate Origami.   My son has worked for 8 years to
perfect his folding.  I have watched him carefully fold works of art as
gifts only to see them tossed in the trash when his back is turned.  It is
cruel.
----------
> From: Joseph Wu <origami@planet.datt.co.jp>
> To: Multiple recipients of list <origami-l@nstn.ca>
> Subject: Art for self or art for money (was Re: Eric Kenneway)
> Date: Thursday, July 17, 1997 1:36 PM
>
> On Thu, 17 Jul 1997, John Smith wrote:
>
> > says ` Origami is essentially a private matter, a communion between the
> > folder and his square of paper as he searches for new aesthetic
experience
> > through folding.
>
> A nicely misleading subject, John. 8)  You might also wish to quote
> Kasahara when he says that origami is a game we play with paper and that
> we call it an art only because we want to feel good about ourselves.
> (I'll have to look up that reference).
>
> > At the convention in New York I attended the panel discussion on design
in
> > Origami. I was surprised by the very strong emphasis put on the final
result
> > and the need to educate people to appreciate what had been achieved by
the
> > folder. I found it difficult to understand why many people seem so
concerned
> > with receiving acclamation from the general public for the final model
they
> > have folded.  In some cases there is even the suggestion that since the
> > model to a long time to fold it should be sold at a high price. I
shudder
> > when I recall someone enquiring in Origami-l how could he make money
with
> > Origami.
>
> What you bring up is not new, nor is it restricted to origami. The
> question of whether art should be done for the sake of art, or if it
> should be sold to make money is an old one. There will always be people
> on both sides of the debate, and also people like me, who want the best
> of both worlds.
>
> > I belong without reservation to the idea of paper folding being an art
to be
> > experienced and enjoyed for it's own sake, not a pursuit for some sort
of
> > sculpture which might be accepted in art galleries and presumably be
sold
> > for a lot of money.
>
> Consider any artist's situation. In order to devote all of one's time to
> an all-consuming passion, one must be able to make a living off of it.
> Otherwise, one must necessarily devote some time to other pursuits in
> order to put food on the table and to pay the bills. Granted, artists are

> traditionally poor, and their works do not gain value until after they
> are long gone, but origami artists are handicapped by the fact that the
> general public does not place any value on origami and considers it a
> children's pastime. And now we must face others in our own community who
> condemn us for wanting to find a way to make a living doing what we love
> best. Why is that?
>
> Consider, John, what your concept of "sharing" really means. Artists do
> not get credit for their hard work and inventiveness. Artists are stolen
> from, sometimes indirectly (e.g. when people photocopy origami books
> instead of buying their own). Others make money off of the work of the
> artists (e.g. when people sell the models they have folded from books and

> other instructions). Some artists do not have a problem with these
> issues. Nick Robinson, for one, consistently puts his works out in the
> public domain. But what irks me is the attitude that benefitting
> financially from one's creativity is wrong. Why not also tell off all of
> the painters and sculptors and any other artists for selling their works?

> It seems to me that this kind of "sharing" is really rather selfish.
>
> I've said it before, and I'll no doubt have to say it again: origami is
> sharing. Sharing is a voluntary activity. Forcing people to share is
selfish.
>
> I've said too much again, and I apologise for the tone of this message.
> But remember this. If we don't take care of those in our own community,
> we destroy that community.
>
>           Joseph Wu           It's your privilege as an artist to inflict
>   origami@planet.datt.co.jp   the pain of creativity on yourself. We can
>  Webmaster, the Origami Page  teach you how WE paint, but we can't teach
> http://www.datt.co.jp/Origami you how YOU paint. There's More Than One
Way
>                               To Do It. Have the appropriate amount of
fun.
>                                           --Wall, Christiansen, Schwartz





Date: Fri, 18 Jul 1997 07:21:13 -0300 (ADT)
From: DLister891@aol.com
Subject: Re: Yoshizawa books in English?

Dennis Brannon asks about books by Akira Yoshizawa, apparently referring to
those in English and in print at the present time. But most books by
Yoshizawa are in Japanese and I will include Japanese books in this reply.

What books are currently available is always a difficult question as it is
often possible to find copies of a book nearing the end of its run by
diligently searching in bookshops and in booksellers lists. Having said that,
I get the impression that the only book by Yoshizawa generally available at
present is his "Inochi Yutaka Na Origami", which is in Japanese, not English,
and the title of which which has been translated variously as "Life-Affluent
Origami" and "Full-of-Life" Origami. To my mind the normal English for either
would be "Lively Origami". The Origami USA Origami Source has this book
listed as available unger the title "Origami: Living Nature" for $55 less
members discount but plus tax if you live in New York State. But look out for
it in lists under other names.

Origami Tokuhon I, often written as Origami Dokuhon I was still available
until quite recently. Again it is in Japanese. Yoshizawa himself may be able
to supply some of his earlier books.

Nearly all of Yoshizawa's books have been published only in Japanese, but
because he relies on the symbols which he himself created, he uses few words
in describing his models and most people get on very well without them. That
is, so far as anyone can reproduce the great subtleties of Yoshizawa's
models. Apart from Origami Museum I (published in 1987), the only other
Yoshizawa books in English appear to be "Origami I: Fun with Paper Folding"
and "Origami 2: Fun with Paper folding", two books printed on board leaves in
about 1969, which were translations of "Tanoshii Origamii" (1963) and
"Origami Ehon" (1963). But I stand to be corrected.

"Origami Museum I" is a translation of "Origami Hakabutsuchi I". There was
also "Hakabutsuchi 2", but I do not think that it ever apperared in English
translation as "Origami Museum 2". Can anyone tell me I'm wrong  please? For
a year or two "Origami Museum 2"  was listed in the cataloque on the
Netherlands Origami Society, but I think this was a mistake and it was later
deleted.

I have recently compiled what I fondly like to think is a complete list of
Yoshizawa's books in both Japanese and English. I have given this to Joseph
Wu to be included in his Origami Page, so look out for it. It is also quite
long, and I don't think I should steal Joseph's thunder, so I can't reproduce
it here.

David Lister.

Grimsby, England

DLister891@AOL.com





Date: Fri, 18 Jul 1997 07:21:54 -0300 (ADT)
From: DLister891@aol.com
Subject: Dokuohtei Nakano, Part 2.

Here is the remainder of my notes on Nakano.

I await additions and corections.

David Lister

Grimsby, England.

DLister891@AOL.com

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

DOKUOHTEI     NAKANO        Part Two.

Subsequently, Nakano issued a new version of the Japanese Course with much
better printing and with pages 18mm x 25.5mm in vertical format. It was
considerably changed from the first Japanese version and include photographs
and more advanced models, including some which used the "Box-pleating"
technique developed by Neal Elias. So far as I know, the new edition did not
appear. in an English version.

Nakano seems to have worked in isolation in Japan, but he began to establish
contacts with Western folders, among them Sam Ranlett, with whomhe appears to
have had a long correspondence. When Sam married Thelma Mason in 1972, Nakano
sent Sam congratulations in the form of six new flapping birds, in the same
page-format as his origami Courses. This was an obvious reference to Sam
Randlett's own origami periodical, "the Flapping Bird".
Nakano  also made the acquaintance of Eric Kenneway, apparently during Eric's
visit to Japan as a result of winning a travelling scholarship, but Eric's
style of folding portraits and figures in origami was far removed from
Nakano's.

In 1972, Nakano started what was apparently intended to be an international
magazine of origami called the "Origami Companion". Most issues were of eight
pages and mainly consisted of models by Nakano himself. However, the second
issue contained a short article on Origami in Peru by Francisco del Rio and
the following four issues carried an article by Gershon Legman on the Blintz"
divided into four parts. This was one of the few pieces on the history of
origami that Gershon Legman wrote and it is an interesting light on his ideas
about the history of paperfolding. Sadly, only eight parts of the Origami
Companion appeared. Another venture that Nakano started in 1979 was called
"The Origami Castle", apparently a kind of centre for the encouragement of
Origami. However, very little was heard of it

Despite his concern with an origami technique which was very advanced for the
time, Nakano also developed an interest in simple folding for children. About
1980, he issued six very small, elementary booklets for children in two boxed
sets of three, each with a packet of colourful shaded paper. The models were
mostly simple Japanese children's models, far removed from the kind of
origami in Nakano's origami courses. About the same time, he  issued three
somewhat more advanced booklets in Japanese called "Ysashii Origami",
"Tanoshii Origami" and "Yakana Origami". In 1985,  Yasashii Origami was
translated by Eric Kenneway into English and published as "Easy Origami"  It
was also translated into Dutch as "Speels Origami" and in 1987 a paper-backed
version appeared in English under the changed name of "Crazy Paper". Eric
Kenneway also translated into English  three booklets in what was called the
"Challenge Origami" series with the names "Koala Bear", "Butterfly 1" and
"Flapping Bird 1". No doubt other books in the series were planned, but they
never appeared. The only books Nakano has in print in 1997 are also
children's books: "Origami Classroom " and "Origami Classroom 2", two board
books boxed with origami paper. They, too, are simple books for children.
Nevertheless, they are very attractively produced for books of their kind.

Apart from art and origami, the other great interest of Nakano was
ornithology and it is reflected in the many birds in his collection. He came
to Britain three times for the primary purpose of studying birds and on each
occasion he was able to meet British paperfolders.  I was able to attend two
meetings held for him by the British Origami Society in August 1980, one of
them at Staines, not far from London and the other at Mick Guy's home in
Birmingham. I found him a very pleasant and cheerful man, with a mop of thick
hair and a broad smile. (His hair has now turned to silver.) He taught us
many models in the folding sessions we held and I still have the box of folds
which I brought away with me. They are not, of course, the most complicated
of his models, but they include some very elegant birds, a goldfish, and a
very nice shrimp with long uncut feelers. There is also a kind of helmet with
a crane at the forehead. It is interesting that they are folded from
bicolour, shaded paper, just like the ones in his children's books.

The question remains  as to just how much influence Nakano had on the
development of modern international paperfolding technique. His personal
achievement had been to combine the artistic folding of Japan with the
advanced techniques of the West, which he had considerably extended. I
assumed that he had in turn inspired folders like Jun Maekawa of Japan, whose
work Kunihiko Kasahara featured in "Viva Origami", published in 1983, and
possibly also folders in the United States, such as Robert Lang, John
Montroll and Peter Engel, who were the leading proponents of "technical
paperfolding".  When I visited the Second International Conference of
Mathematical Origami in Japan in November 1994, I was able to ask Maekawa
directly (he speaks English) and he told me  that he had not derived any of
his folding technique from Nakano. I understand, too, that the American
folders developed their techniques  without any help from Japanese folders.
Indeed, it was only subsequently that they became aware that Maekawa was
working along similar lines to their own.

The conclusion must be that Nakano was a man before his time. There is no
doubt at all that he discovered major advances in the design of origami
bases. Yeven so, other folders did not build on his achievement. For
instance, Max Hulme, David Brill and Martin Wall who were the great creative
British folders of the 1970s proceeded in altogether different directions,
using techniques such as box-pleating and ad hoc direct folding, and
eschewing the classic bases, whether in their simple or in their compound
forms. When Maekawa and the Americans again took up the classic bases and
developed algorithms for the development of bases specific to the particular
model they were folding, they started anew and from different premises. Since
then, with the discovery of wholly new techniques, and using new styles of
folding and new theories, paperfolding has advanced a long way beyond what
even Nakano achieved. But this does not diminish his achievement in its own
time.

After the publication of the Second Japanese Origami Course, we hear no more
of Nakano's advanced work. Perhaps he burnt himself out. But the question
remains  whether Nakano would have had a more direct influence on general
origami technique if he had persisted and if he had published his work in the
form of books which might have achieved wide dissemination rather than in the
form of correspondence courses which had a very restricted distribution.
Nevertheless, the correspondence Courses remain as a monuments to Nakano's
astonishing period of creativity and they deserve to be studied by the
paperfolders of today and the future, both for his fertile ideas and as a
treasury of creative folding.

David Lister.     16th July, 1997.





Date: Fri, 18 Jul 1997 11:31:27 -0300 (ADT)
From: Michael LaFosse <michael@origamido.com>
Subject: Re: origami tesselations and Chris Palmer

joyce,

We are planning to have the Chris Palme class on Monday, July 21 at 7:00
- 9:00 pm.

Hope you can make it!

Michael LaFosse
(508) 373-5645
michael@origamido.com





Date: Fri, 18 Jul 1997 11:32:40 -0300 (ADT)
From: Michael LaFosse <michael@origamido.com>
Subject: Re: Chris Palmer Class in Haverhill MA

For those who can make it:

We are planning to offer the Chris Palmer class (Boxes and Flowers) on
Monday, July 21 at 7:00 - 9:00 pm at the Origamido Studio, 63 Wingate
Street, Haverhill  MA
You must regiter so call to let us know if you are comming (you can
leave a message if I do not answer the phone).

Hope you can make it!

Michael LaFosse
(508) 373-5645
michael@origamido.com





Date: Fri, 18 Jul 1997 12:16:01 -0300 (ADT)
From: Dennis Brannon <brannon@jamin.enet.dec.com>
Subject: RE: Yoshizawa books in English?

David Lister said:

>Dennis Brannon asks about books by Akira Yoshizawa, apparently referring
to
>those in English and in print at the present time. But most books by
>Yoshizawa are in Japanese and I will include Japanese books in this reply.
Sorry for not being clear.  I'm aware of his Japanese books; I was hoping
to
find out if any books besides Origami Museum 1 had been translated to
English.
But thanks for the detailed reply.

>Nearly all of Yoshizawa's books have been published only in Japanese, but
>because he relies on the symbols which he himself created, he uses few
words
>in describing his models and most people get on very well without them.
That
>is, so far as anyone can reproduce the great subtleties of Yoshizawa's
>models.

That's not the case with the English translation of Origami Museum 1.
The English paragraphs that accompany each model in Origami Museum 1
explain Yoshizawa's philosophy about the model and give suggestions on
how to reproduce the great subtleties.  Most people may be able to
"get on very well" without the words, but that probably contributes to
making
it harder to reproduce the subtleties in the model.

For example, here is the paragraph that accompanies the Iguanodon model:
"   Let us fold an iguanodon, an herbivorous animal which existed between
the Jurassic and Cretaceous periods, 140 million years ago.  Try to imagine
its physique and posture when it was walking about the land.
    Origami is not something that you should be satisfied with after
completing one figure.
Repetition will enable you to make increasingly lifelike objects.  After
you become good at
making this animal, you can try making it in all the various poses shown in
A, B, C, and D.
    Also, if you gently pull the chest and tail out in diagram 17, and
expand the body with
your finger or a small stick, it will become 3-dimensional and look very
powerful.  If you make
the neck slender with a smaller head, you will have a brontosaurus.  Study
these animals in
illustrations to familiarize yourself with them."

Another example: Dragon
"...In folding this animal, it is important to clearly define the horns and
mane.
Try to give it an appearance of dignity by adjusting the angle between the
face and the neck."

Another example: Gorilla
"...When you make it, you should do so as if you were actually looking at a
gorilla in the zoo
or in a photograph.  By making the forehead broad and roughly shaping the
mouth and nose,
you will be able to make it look like a gorilla.
     Repeated folding to produce a satisfactory image will cause the paper
to become wrinkled.
Then you should make the face longer.  Try not to be too concerned with the
face alone but
work on the figure as a whole".

There is also a long description of "Origami As Formative Art parts 1 & 2".
 It explains
how out of one sheet of paper, you can show various aspects of life to
illustrate
when, where, who, what and how to a child as you fold a dog face and turn
it into a puppy.
He also points out that you will learn about "shape and posture" which are
fundamental
elements in formative art.

>I have recently compiled what I fondly like to think is a complete list of
>Yoshizawa's books in both Japanese and English. I have given this to
Joseph
>Wu to be included in his Origami Page, so look out for it. It is also
quite
>long, and I don't think I should steal Joseph's thunder, so I can't
reproduce
>it here.
Thanks!  I look forward to seeing it show up on Joseph's Origami Page.

I guess its time to learn to read Japanese.

thanks,
dennis

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





Date: Fri, 18 Jul 1997 12:40:43 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: Eric Kenneway

In reply to John Smiths message about not using Origami for money making.  I
wonder John, do you think it not right to sell paper, write books, teach
origami professionally, sell greeting cards, sell Origami models, jewelry,
and all the other things that people are doing nowadays to earn money.  I
think the aesthetic side of Origami is a beautiful aspect of doing Origami,
that it is the journey not the arrival that is most important, but I also
feel that without all of these other business things that are going on,
Origami would have never progressed at the rate it has if it were not for all
of these other aspects of this never ceasing to be astounding art,  in all of
its aspects.  Dorigami





Date: Fri, 18 Jul 1997 13:37:36 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Art for self or art for money (was Re: Eric Kenneway)

On Fri, 18 Jul 1997, Nick Robinson wrote:

> Joseph Wu <origami@planet.datt.co.jp> sez
>
> >But what irks me is the attitude that benefitting financially from
> >one's creativity is wrong.
>
> I for one have no issue with that, but some people seem to think that
> recreating *other people's* work *without asking* and selling it is in
> some way being creative.

Hear, hear! I think I mentioned that, too.

> Here's to a short thread!

My hope, too, but the only way to recan a can of worms is with a bigger
can, right?

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





Date: Fri, 18 Jul 1997 13:38:10 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Origami Not Valuable? (Re: Art for self or art for money (was Re:
 Eric Kenneway))

On Fri, 18 Jul 1997, Mr & Mrs Owen wrote:

> Joseph's words hit on something close to my heart.  People around my city
> do not understand or appreciate Origami.   My son has worked for 8 years to
> perfect his folding.  I have watched him carefully fold works of art as
> gifts only to see them tossed in the trash when his back is turned.  It is
> cruel.

Solution: don't give them to people who won't appreciate them.

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





Date: Fri, 18 Jul 1997 15:08:57 -0300 (ADT)
From: dbwalker@nilenet.com (David Bruce Walker)
Subject: Art for self or art for money (was Re: Eric Kenneway)

i must totally agree with Joseph's Wu's comments on this matter. I have
recently started selling wetfolded models. It started out when a new paper
shop opened in denver. i made models out of kami just for display purposes,
as origami and paper shops. soon the customers to the shop started telling
the owner how wonderful the models looked and that they were unaware origami
of that nature and complexity existed. I suddendly started getting requests
to make that using the handmade paper. Before this whatever i made, even if
i used washi or other papers went friends, family and even strangers. and i
agree that origami is to share.
but as  mark Kennedy told me "they must respect the art" and if we make
something and it's in a commerical setting we should price accordingly. I
had no idea what to charge for my wetfolded models, the very idea of selling
a model was foreign to me. but i realized that after talking to Mark and
others i want this art form of ours to receive the respect it deserves.
Unfortunely people place price tags on respect. no one talks about how great
or how inspiring a work of are is, but how much did it cost.  You can not
tell me that the work of La Fosse, Lang,Montroll,Josel and other great
folders are not works of art, deserving respect. the great western and
eastern folders have placed origami into the realm of art, we are now paper
sculpters. Look at Brill's rhino, Yoshizawa's bull and see the life their
creator has given them.  Well enough of this, now lets all out out and fold
a major piece of currency

david





Date: Fri, 18 Jul 1997 16:41:10 -0300 (ADT)
From: ladyada@tiac.net (joyce saler)
Subject: Re: Eric Kenneway

John:
In response to your statement,

"I belong without reservation to the idea of paper folding being an art to be
experienced and enjoyed for it's own sake, not a pursuit for some sort of
sculpture which might be accepted in art galleries and presumably be sold
for a lot of money.
This is why I am at one with Nick Robinson when he tells us to share not sell."

I would say that Origami need not be one or the other thing, but perhaps
can include both worlds. I would think that the greatest fault in so called
commercialism is to offer poorly folded work and proclaim that as Origami
Art. As far as I can judge, the people who are offering commercial products
today are among the strongest creators and folders.

I would trust those lovers of Origami-persons who are first at the door of
every Origami exhibition and new book offering- as guardians of the
aesthetic gates.

What might be a further issue here is a cultural one. You know that we
Americans are the new Romans of the world and perhaps your considerations
belong more to a Platonic ideal.

On a personal level, might I include that your workshop at the Convention
was one entertaining folding experience.

Joyce Saler





Date: Fri, 18 Jul 1997 18:55:53 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Art for self or art for money (was Re: Eric Kenneway)

On Fri, 18 Jul 1997, David Bruce Walker wrote:

> i must totally agree with Joseph's Wu's comments on this matter. I have
> recently started selling wetfolded models. It started out when a new paper

Remember to get permission from the creators, and seriously consider a
royalty for use of their designs.

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





Date: Fri, 18 Jul 1997 19:01:52 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Re: Double Dollar Bill Rose

Waaaaaaay back on July 6th, 1997, James M. Sakoda wrote about folding
two models at the opposite ends of a dollar bill, and asked:

        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.

As I was just folding Robert Lang's Bald Eagle for an acquantaince who
works in the US Postal Service, I realized that despite the step in the
diagrams where you have to pull the model (I have had problems with it
tearing on me here) that model is really made from two bird bases
folded side by side.  Since there is no cutting in this model, the
common edge of the two squares forces the bird bases to be in the "up"
position.  "The up position" means (in this case) one of the flaps must
be folded up.  I have seen the bird base shown with all the flaps down
and two opposite flaps up, and there doesn't seem to be any general
consensus as to which is "really the bird base".  But I digress.

THis year's convention book has the model <MODEL NAME HERE> by <CREATOR
NAME HERE> which folds two cranes from a dollar bill.  (hmm..).

And one should be able to fold Rohm's "It's Magic" from a dollar bill...

But "It's Magic" isn't two of the same model...

Hmmmm.... Maybe its time to start another model list (or augment V'Ann's?)

-D'gou
