




Date: Tue, 22 Jul 1997 15:20:56 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: (LONG) Many things .... !!!

Hi Jeff!

On Mon, 21 Jul 1997, jeffry kerwood wrote:
> Otherwise grab a cup of java, better make it a pot, and let's get started.

Sorry, but I prefer drinking tea. (Although there is no good tea in
Germany. I envy you Englishmen!)

> 1) Any body know of cool (yes I was born in 1956 so cool is still in my
> vocabulary) ways to display models.

I once folded a FlexiCube from a 6cm wide strip and used that as a stand.
It looked cool, sorry, kool, damn, K00L, now I have it, kewl (being born
in 1980) to me, but I guess nobody else knew what it was.

I think that other natural materials such as stone or rough wooden planks
also work well as a surface. If you display desert creatures, you can
also use sand as a surface and put a pyramid in the background. Or an
Ayers Rock as a background for Engel's Kangaroo. Now where are the
directions for RJLang's Rock Climber? :)

> 4) I have reserved a display case in the local library for an origami
> display (for the month of October).

I have just closed a display which was first installed at our library and
which I then transferred to a display case at my school. And now I don't
know where to put all that stuff! :-(

> I'd love to put origamis best fold forward and show some of
> *the good stuff*.

You shouldn't ask me if you want "the good stuff". :->

> What do people really do
> in practice? And do you feel what you do is fair?
> >> I know some of you make and sell origami. What do you do about
> royalties? Do you make all your own models? Send Fuse her 10% (or
> whatever)? Hope no one ever asks this question? <<

That's what I'd like to know as well.

> 15) More about storing paper, this time LARGE. I have lots of big paper
> ( biggest about 3' x 4') and can't figure out a way to store it so that
> it is easy to sort through, isn't *rolled* (I can't stand fighting with
> paper that keeps wanting to roll itself around my head), and doesn't
> take up the entire family room floor. Any thoughts?

The biggest size I use is 50 x 70cm (20" x 28"), that's still small enough
to store under the cupboard.

> 17) What is good paper to use for wet folding. David Brill *Brilliant
> Origami* page 104 says heavier grades of Fabirano or Canson are good.
> True?

Yes. Really. I know two brands that are especially suited, but they may
not be available in the USA.

The one is elephant hide ("Elefantenhaut"). You can get this at almost any
office supply store in Germany, and it is manufactured by many different
companies, Zanders and Herlitz(?) being two of them. It is available in
many different colors, although a light brown is the most common one. It
always has a very smooth surface and is easily recongizable by its
texture.

The other is "Mi-Teintes", a drawing cardboard manufactured by the French
company Canson. At the Siebold Museum at Wrzburg, I have seen a few
models by Lionel Albertino, and they looked really awesome. He must have
used 70 x 100cm cardboard, while I have only seen 50 x 70cm size.

And if you now take Fabriano in Italy, with its brands Designo et. al.,
you have the three most prominent papermaking companies in Europe.

> I looked in the FF and OUSA catalogues and didn't see these listed
> (I did look quickly so I might have missed it). Anybody know where to
> get this (or whatever is best)?

I believe this is hard to get if you can't get it at the regular office
supply stores. The Viereck Verlag in Germany now has Elefantenhaut, but
only in A4. (I usually buy it 50 x 70cm!)

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





Date: Tue, 22 Jul 1997 15:25:43 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Paper for a Tiger

Hi Nick!

On Mon, 21 Jul 1997, Nick Robinson wrote:
> Is not origami the art of suggestion?

No, I don't think that's a general definition. You _can_ make suggestive
origami (-> Herman's Reader), but with the recent development in complex
origami, it's less and less an art of suggestion. With most complex
models, a feature is either there and displayed with a point or an edge,
or it is not. I don't want to say that this is wrong, it partly makes
folding a lot more interesting to me.

> Dave Brill often makes his designs from plain brown paper, since using
> exotic/skin coloured paper would distract from the fold itself.

This shows that he values his folds very highly. But as an only menial folder,
I think that my models can take a few "outside" enhancements to conceal my
shortcomings in the folding.

> If exotic colours are essential to indicate the chosen subject, I'd suggest
> it's not a particularly good design in the first place.

I guess you know Montroll's Camel, and so you know that this is a superb
design anyway. The color of the paper is _not_ essential, but an appropriately
colored paper contributes to the general impression of the finished model. And
I think noone will blame me for using a technique that enhances the appearance
of a model, even if it is not essential. I could fold my models from plain
kami paper, or even simple photocopier paper, but I think that using mulberry
paper and tissue foil enhances their appearance, so why shouldn't I?

> I've seen stripeless tigers that were instantly recognisable, for instance.

.. if you can distinguish them from lion, leopard, panther and puma
models. :-) Nishikawa Seiji's Tiger is easily recognizable (by its heavy head
and its sideburns), while I think that Montroll's Tiger from "Mythological
Creatures" is less easily recognizable. (It could be mistaken for some other
kind of big cat, ie. a leopard or something.)

> Looking for "skin" effect paper is a small step down a path that ends up
> with those horrific Rojas folds, where paint has been liberally daubed
> across the paper in an attempt to breathe life into poor folding.

I hope that I will retain enough judgement to avoid that. As I have stated
already, I only treat my paper before folding. When I begin to paint
folded models, you must take me out and shoot me!

BTW: I have Rojas' "origami" book (a remnant from my dark ages), and I
have not even dared touching it in the last few month, for the fear of
infecting myself. The finished models _do_ look interesting, yes, but the
techniques he uses are ghastly. Brrrr!

> The Montroll cow/zebra effect is technically stunning, but lacks grace
> (IMHO). Will we ever see an elegant stripey fold? I hope so, but it will
> take some achieving.

I think that Fumiaki Kawahata's Raccoon is a serious candidate for this
category ...

BTW: Is John Montroll still on this list? I have read a few postings by him in
the archives, but I haven't heard of him lately. Could you please speak up,
John, if you're still there?

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





Date: Tue, 22 Jul 1997 20:18:33 -0300 (ADT)
From: Kenny1414@aol.com
Subject: Re: Is John Montroll still on this list?

In a message dated 97-07-22 15:27:53 EDT, you write:

<< BTW: Is John Montroll still on this list? I have read a few postings by
him in
 the archives, but I haven't heard of him lately. Could you please speak up,
 John, if you're still there? >>

I think AOL had a problem with e-mail most of this month.

I thought I had fallen off the list again, and was going to try
re-subscribing,
because I hadn't received anything since about July 2nd, when I
suddenly received two messages, yesterday.

Since the e-address I have for John Montroll is an AOL address,
I expect he had the same problem.

And, yes, this means haven't seen anything of origami-l from 7/2 thru 7/20.

Aloha,

Kenneth Kawamura
kenny1414@aol.com
P.O. Box 6039
E Lansing, MI  48826-6039





Date: Wed, 23 Jul 1997 03:30:03 -0300 (ADT)
From: Daniel Say <say@sfu.ca>
Subject: A few 'new' books (englischen) Papierfalten

Date: Tue, 22 Jul 1997 20:33:53 -0700 (PDT)
------------------------------------------------------------------------
"Festive Folding : Decorative Origami for Parties and Celevrations"
by Paul Jackson

List: $12.98 --
Publisher: BOOKSALES INC
Binding: Hardcover
Expected publication date: July 1997
ISBN: 0785806288
------------------------------------------------------------------------
"Origami in King Arthur's Court : An Adventure in Folding"
by Lew Rozelle

List: $15.95 --

Subjects: Origami; Knights and knighthood in art; Castles in art;
          CRAFTS/HOBBIES

Publisher: St. Martin's Griffin
1 EdBinding: Paperback
Expected publication date: August 1, 1997
ISBN: 0312156197
------------------------------------------------------------------------
"The Usborne Book of Origami, Library ed. (How to Make)"
by Eileen O'Brien

List: $13.95 --

Subjects: CHILD BOOKS/AGES 9-12; Crafts for Children

Publisher: Usborne Books
Binding: Hardcover
Expected publication date: August 1, 1997
ISBN: 088110938X





Date: Wed, 23 Jul 1997 14:46:49 -0300 (ADT)
From: "Nancy B. McNitt" <nbm@mindspring.com>
Subject: Re: A few 'new' books (englischen) Papierfalten

Thank you for this information. I really appreciate keeping up with new books.
Glenn McNitt

At 03:30 AM 7/23/97 -0300, you wrote:
>Date: Tue, 22 Jul 1997 20:33:53 -0700 (PDT)
>------------------------------------------------------------------------
>"Festive Folding : Decorative Origami for Parties and Celevrations"
>by Paul Jackson
>
>List: $12.98 --
>Publisher: BOOKSALES INC
>Binding: Hardcover
>Expected publication date: July 1997
>ISBN: 0785806288
>------------------------------------------------------------------------
>"Origami in King Arthur's Court : An Adventure in Folding"
>by Lew Rozelle
>
>List: $15.95 --
>
>Subjects: Origami; Knights and knighthood in art; Castles in art;
>          CRAFTS/HOBBIES
>
>Publisher: St. Martin's Griffin
>1 EdBinding: Paperback
>Expected publication date: August 1, 1997
>ISBN: 0312156197
>------------------------------------------------------------------------
>"The Usborne Book of Origami, Library ed. (How to Make)"
>by Eileen O'Brien
>
>List: $13.95 --
>
>Subjects: CHILD BOOKS/AGES 9-12; Crafts for Children
>
>Publisher: Usborne Books
>Binding: Hardcover
>Expected publication date: August 1, 1997
>ISBN: 088110938X





Date: Wed, 23 Jul 1997 14:51:04 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re: A few 'new' books

At 03:30 AM 1997-07-23 -0300, you wrote:

>Date: Tue, 22 Jul 1997 20:33:53 -0700 (PDT)

>"Origami in King Arthur's Court : An Adventure in Folding"
>by Lew Rozelle
>
>List: $15.95 --
>
>Subjects: Origami; Knights and knighthood in art; Castles in art;
>          CRAFTS/HOBBIES
>
>Publisher: St. Martin's Griffin
>1 EdBinding: Paperback
>Expected publication date: August 1, 1997
>ISBN: 0312156197

This topic interests me.  I'd love to hear from anyone who sees this book to
know if it's worth ordering.

                                                                Cathy





Date: Wed, 23 Jul 1997 14:51:49 -0300 (ADT)
From: Brett Askinazi <brett@hagerhinge.com>
Subject: Francis Ow

------ =_NextPart_000_01BC9760.1C426860

I thought I saw a post a while back that said that Francis Ow had a homepage???

Does anyone know the URL ?

TIA

Brett

------ =_NextPart_000_01BC9760.1C426860
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------ =_NextPart_000_01BC9760.1C426860--





Date: Wed, 23 Jul 1997 18:00:27 -0300 (ADT)
From: Kevin Kinney <kkinney@mail.carolinas.org>
Subject: Origami Sighting

Well, Jonathan Baxter is not on the list (as far as I know), and probably
wouldn't mention it anyway, but I will...

Our local paper, The Charlotte Observer, has a nice article/interview with
Jonathan in it's "Mecklenburg Neighbors" section today.  Several photos, 2
of him 3 of origami (priorities, after all), some quotes of his thoughts on
teaching, and mention of his newest project:  a 16-foot triceratops (anyone
know anything about this?  Are extra hands needed?  I'll try calling him).

Anyway, if you're able to see it, check it out.

Now I've got to go figure out how to make the unicorns they show pics of...

(For those who don't know, Jonathan is the driving force behind the
Southeastern Origami Festival, and was the one who coordinated the
construction of the life-sized Yoshino T-Rex Skeleton last fall)

Kevin Kinney

Kevin Kinney
kkinney@carolinas.org





Date: Wed, 23 Jul 1997 18:03:47 -0300 (ADT)
From: Kevin Kinney <kkinney@mail.carolinas.org>
Subject: What not to miss in San Franciso...

Heading out to San Francisco next week for a very brief visit.  I seem to
recall that there are some excellent origami-friendly stores and things out
there.  Could someone e-mail me (directly) to tell me what I shouldn't
miss.  I'm especially interested in any place to browse some of the
Japanese-language publications so often discussed, to see if I can follow
them...

Kevin
kkinney@med.unc.edu

Kevin Kinney
kkinney@carolinas.org





Date: Wed, 23 Jul 1997 18:05:06 -0300 (ADT)
From: Michael Clark <mclark@DigitalAspect.com>
Subject: Decorating paper

In response to several queries, I am posting a brief synopsis of the
techniques I learned in Mark Kennedy's class on paper decorating at the
OUSA convention. For anyone who also attended the class (Glenn?), please
feel free to embellish or discredit anything I say here. ;-)

In the class, we decorated the paper side of foil papers. The materials
used were: concentrated liquid water colors (Dr. Somebody's -- anyone
remember the name?), kitchen sponges, the styrofoam food packaging trays
that you get meat packaged in (used as a palette), a bowl of water and
plenty of newspaper to protect your work surface. The sponges are cut into
pieces, and are used to apply the watercolors. They may be used as stamps,
so various patterns can be cut into the sponge pieces. For example, a piece
of sponge about 2 inches long can be cut into "teeth", which when pulled
across the paper leaves equally  spaced stripes of paint (or unequally
spaced, if you're THAT type of person).

Wet the sponges in the water. Pour small amounts of watercolors into the
styrofoam palette, dip the sponges and paint. You may wish to apply a wash
of color as a base coat, and then layer colors on top of that. Experiment
with differing amounts of moisture in the sponge, from almost dry to
soaking wet.

A very effective technique that I used was to apply a wash coat of bright
green, and then with a very wet sponge, I squeezed drops of medium brown
onto the paper from about 12 inches. The resulting paper made a very nice
lizard!

Other techniques which I observed in the class: one person created a design
which reminded me of Madras fabric by painting stripes of color about one
inch wide both vertically and horizontally across the paper. I used a
slightly damp sponge to stamp red paint lightly onto a background wash of
blue - very nice effect. You can also use the sides, edges, and corners of
the sponges as a brush to get lines of varying width. Although we didn't
try it in the class, I think a toothbrush could be used to great effect to
spatter drops of paint.

Cleaning up was fun, too!  While rinsing the sponges in clear water, we
squeezed them over the paper, so very little watercolor was wasted.  Also,
Marc suggested that dry watercolors could possibly be used - if anyone has
tried it, please let us know.

I hope this has been useful - please feel free to email me for clarification.

Regards,
<<<<<>>>>><<<<<>>>>><<<<<>>>>><<<<<>>>>><<<<<>>>>><<<<<>>>>><<<<<>>>>>
Michael Clark                     <>  voice - 919.481.4007 x 30
Digital Aspect, Inc.              <>  fax   - 919.481.0024
956 W. Chatham St, Suite 200      <>  email - MClark@DigitalAspect.com
Cary, NC 27511                    <>





Date: Wed, 23 Jul 1997 18:05:33 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Francis Ow's web page

I used Alta Vista to find this.  It's probably in Joseph Wu's page somewhere,
but, well, I was using Alta Vista for something else anyways...
So, the URL is:  http://sunflower.singnet.com.sg/~owrigami/

-D'gou





Date: Wed, 23 Jul 1997 20:20:07 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Foldability (was:Re: Paper for a Tiger)

Marc Kirschenbaum wrote:
> ( In a certain sence, I
> think Montroll designs his work more for their foldability, rather than
> their displayablility. The fact that most of them are quite displayable
> (which is an understatement), is quite an accomplishment.
> Marc

My thoughts exactly! Even his more complex models in "Mythological
Creatures and the Chinese Zodiac" are EASY to fold and look great too.
Montroll's models are very efficient; no unnecessary creases, no
flashy "special effects" folds. You get your tiger in 33 easy steps,
no artificial flavoring added. These are the models I'm grateful for
when my paper tears at step 199 of a 200-step nightcrawler.

Matthias, working on 124-step diaper folds...





Date: Wed, 23 Jul 1997 22:28:44 -0300 (ADT)
From: Jeff Goff <jmgoff@concentric.net>
Subject: Re: What not to miss in San Franciso...

At 06:04 PM 7/23/97 -0300, you wrote:
>Heading out to San Francisco next week for a very brief visit.  I seem to
>recall that there are some excellent origami-friendly stores and things out
>there.  Could someone e-mail me (directly) to tell me what I shouldn't
>miss.  I'm especially interested in any place to browse some of the
>Japanese-language publications so often discussed, to see if I can follow
>them...

I haven't been to San Francisco in years, but I believe there are at least 2
Kinokuniya bookstores there.
I've been to two in Japan, and they both had a good deal of Origami books,
including the latest _Oru_ magazines.

Good luck!
-Jeff <jmgoff@concentric.net>





Date: Thu, 24 Jul 1997 01:32:41 -0300 (ADT)
From: June Beighley <beighley@pps.pgh.pa.us>
Subject: Re: Decorating paper

On Wed, 23 Jul 1997, Michael Clark wrote:
Regarding Mark Kennedy's class...

> In the class, we decorated the paper side of foil papers. The materials
> used were: concentrated liquid water colors (Dr. Somebody's -- anyone
> remember the name?)

We used Doctor Martin's water colors.  It was an excellent class!

June





Date: Thu, 24 Jul 1997 04:08:06 -0300 (ADT)
From: "K.A. Lundberg" <klundber@mnsinc.com>
Subject: Re: Decorating paper

I haven=92t taken Mark Kennedy=92s class but have read descriptions and h=
ave used his techniques as well as others that have been mentioned such a=
s salt.  A few years ago I became very interested in the Kawasaki rose an=
d found that 8 and 1/2 inch paper provided the flower size I liked.  None=
 of the commercial papers had the depth of color that I wanted so I began=
 experimenting with paper dying.  The following process may not be standa=
rd but my models have held up very well over the years.  I have used this=
 process when a non-standard size of paper or a specific color was called=
 for, dyed tracing paper is very nice for animals since the paper will bl=
ister/pucker when it becomes wet giving a nice skin like texture.

Michael Clark writes:
> In the class, we decorated the paper side of foil papers. The materials
> used were: concentrated liquid water colors (Dr. Somebody's -- anyone
> remember the name?), kitchen sponges, the styrofoam food packaging tray=
s
> that you get meat packaged in (used as a palette), a bowl of water and
> plenty of newspaper to protect your work surface. The sponges are cut i=
nto
> pieces, and are used to apply the watercolors. <snipped>

I usually use plain typing paper (the inexpensive kind), or throw-away co=
mputer paper if it can be cut so no printing shows and the folds for the =
model are not too intricate.   Since no specific pattern or design is nee=
ded I use disposable sponge brushes and whatever is lying around to hold =
and mix colors (sour cream containers, etc.).  I have used a variety of c=
olor medium including liquid water colors (very good), food coloring (not=
 bad), latex paint (not a good idea), paint box water colors (only good t=
o apply details) and what ever interesting kits come out each Easter.  My=
 favorite is dry fabric dye, usually the natural batik dyes but I have us=
ed Rit.  It comes in all colors and can be mixed to any intensity.

Michael Clark continues:
> A very effective technique that I used was to apply a wash coat of brig=
ht
> green, and then with a very wet sponge, I squeezed drops of medium brow=
n
> onto the paper from about 12 inches. The resulting paper made a very ni=
ce
> lizard!

This is the similar to the technique that I use.  After cutting the paper=
 a little larger than required and protecting the table, wet the paper wi=
th a wash of plain water or a light color, then while the paper is still =
wet layer on darker colors, the dry dye can be applied to the wet paper d=
irectly for vibrant colors.  One of my favorite combinations for the rose=
 is an intense yellow wash topped by red drawn in a loose spiral design. =
 The resulting paper looks for all the world like someone mixed ketchup a=
nd scrambled eggs (yuck) but makes beautiful roses something like a flame=
 rose also the Peace and Whisky Max can be created with the appropriate c=
olors.  If  the color mix is not to you liking, not to worry, excess colo=
r can be blotted off with dry pieces of paper to be finished later or lig=
htened by water washes. With a little experimentation a realistic color d=
epth and gradation can be achieved.  Different intensities of green layer=
ed in this manner make interesting leaves for large foliage.   =20

Layering the colors like this, as you might image, soaks the paper, which=
 is why fine bond paper is not used as it will break down from the moistu=
re.  The colors to varying degrees will penetrate to the back side of the=
 paper so if one side needs to remain white this technique is not indicat=
ed.

To put the finish back on the paper place it between two sheets of waxed =
paper while still wet and iron it dry this will reseal the fibers.  Sever=
al sheets can be dried between the same pieces of waxed paper.  The resul=
ting paper while having a slight waxy feel does not appear waxy.

Michael Clark continues:
>Although we didn't try it in the class, I think a toothbrush could be us=
ed to great effect >to spatter drops of paint.

I have used toothbrushes, spray bottles set to mist (with and without sno=
wflake stencils), eyedroppers, etc. to great effect.  Also using a small =
amount of oil mixed with water in a spray bottle and then just lightly mi=
sting the paper will create spots where the dye will not absorb.  One thi=
ng I would like to try is using a spin-art machine I think you could get =
some very nice black or brown eyed papers.  Anyone know if they even make=
 them anymore?

Sorry this was so long.  Hope someone finds it useful and that it makes s=
ense.

Kalei -- klundber@mnsinc.com





Date: Mon, 21 Jul 1997 12:11:34 -0300 (ADT)
From: "Shi-Yew Chen (a.k.a. Sy)" <sychen@erols.com>
Subject: [OT] Japanese E-Mail (Re: Tessellations Again)

OFF TOPIC message. Read only if you care:

helena@mast.QueensU.CA wrote

> By the way, does anyone know what is the best way to write in
> Japanese to Japanese?  I emailed Kawasaki using Romanji, but didn't
> hear back; maybe I wasn't polite enough or something; but I really
> want to use Kanji, but my other Japanese friend said she couldn't read
> the flie I sent, which I wrote in JIS using NJStar - though I could
> read the stuff she sent, though I don't know what kind of file it was.
> Sorry this is not origami, but I thought there igmight be other people out
> there who are communicating about origami in Japanese, and could help me
> out.
>

JIS format is the safer way to communicate in Kanji E-Mail. Well! Not quite...
My suspect is either
* recipient's mailer application is not JIS-compliant (unlikely, but who knows)

or
E-Mail is corrupted somehow in either
* Escape Characters being Stripped Out - this could be somewhere in the mailing
  path

or
* Line Splitted Because of Word Wrap - Application does not understand
     double-byte
Japanese encoding nature

The detail of using Japanese E-mail and fixing corrupted mail can be found in
http://home.earthlink.net/~haitani/jmail.html

Both senders and receivers need to learn a little about this to make Japanese
E-mailing easy.

PS: you can send me private E-mail to test your Japanese Encoding method.

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





Date: Mon, 21 Jul 1997 12:54:04 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: NOR: for those with listserv problems

For those who had a problem of getting unsubscribed from
the list (or postponed) last week:

As far as I've been able to tell, since the origami-L host
system overhauled their email system a few months ago, there
has been less trouble with getting arbitrarily kicked off
the list.

However, last week there was a BIG problem at the operation
that administers domain names (the official addresses of
computers on the Internet). A master tape of mostly .com
and .net names got wiped, and as a result a large number
of systems began returning email to sending system as
having an invalid address. The volume was enough to crash
some systems with listservers, so some of them were taken
off line, and/or set all list subscribers to postpone, to
avoid returned mail from other affected systems. Of
the big online services, Compuserve had a major problem,
I suspect a couple of their mail servers were hit.

The dust started settling by Saturday morning, and things
are getting back to normal now. So if you sent mail and
it got returned, or never showed up, send again.

In future, if you don't get anything from this list for
12-24 hours, first try re-subscribing. If you get an error
message back saying you are already subscribed, you're
probably set to "Postpone", so send the un-postpone message.
(all this stuff is covered once a month in a message with
subject Administration and in the FAQ's in the archive.)

If you are neither unsubscribed nor postponed, then there
is usually a problem with the listserver system itself or
your email system. So wait awhile and try again.

--valerie
Valerie_Vann@compuserve.com





Date: Mon, 21 Jul 1997 14:59:59 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: Success report: Tiger by Nishikawa Seiji

On Sun, 20 Jul 1997, Sebastian Marius Kirsch wrote:

> This tiger has an incredibly detailed face, complete with ears, jaws and
> eyebrows. If you model the final piece correctly, you can even achieve
> something that looks like these sideboards tigers have. This is the most
> detailed face I have ever seen in a model.

Nishikawa now has an easier tiger. It looks like a low intermediate model
due to its shape, but manages to look like a tiger without the detail.
It's obviously not a low intermediate model, though, because of the
colour-changed stripes.

KOMATSU Hideo has a tiger that is astounding. It has a detailed face like
Nishikawa's tiger, and many colour-changed stripes like Montroll's tiger.
I tried to talk him into submitting his diagrams to be published in the
PCOC collection, but he declined since they are already being published
in the Origami Tanteidan newsletter (starting in the current 97/6/11
issue and continuing in the next few issues). Photos are forthcoming on
my web page.

> I hope to take photos of a few of my models next week, and Eric Andersen
> has offered to display them at his website when I've managed to scan them
> in. (Thanks, Eric!) Of course, this model cannot compare to the one shown
> at Joseph Wu's website, but I'd like to show my own menial efforts.

Don't quite know how to respond to this one, but thanks for the
compliment. I certainly look forward to seeing your version!

          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: Mon, 21 Jul 1997 15:28:02 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: [NO] E-mail in Japanese (was Re: Tessellations Again)

On Sun, 20 Jul 1997 helena@mast.QueensU.CA wrote:

> By the way, does anyone know what is the best way to write in
> Japanese to Japanese?  I emailed Kawasaki using Romanji, but didn't
> hear back; maybe I wasn't polite enough or something; but I really
> want to use Kanji, but my other Japanese friend said she couldn't read
> the flie I sent, which I wrote in JIS using NJStar - though I could
> read the stuff she sent, though I don't know what kind of file it was.
> Sorry this is not origami, but I thought there igmight be other people out
> there who are communicating about origami in Japanese, and could help me
> out.

Kawasaki's known to be a bit slow in his correspondence, especially since
his wife, who helps him with the English, is busy with their little girl.
I've also found that most Japanese find romaji to be difficult. As for
sending kanji via e-mail, it really depends on the e-mail programs at
both ends. Usually there's no problem, though, if both are kanji capable...

          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: Mon, 21 Jul 1997 15:59:51 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Re: copyright

On Sat, 19 Jul 1997, Postcards wrote:

> Since most origami books ENCOURAGE you to fold, to share, to create,
> and there is no disclaimer on anything but the printed work, law and
> practice come into conflict.  It could be argued, probably successfully
> that such works have been released to the public domain to be copied,
> modified, and worked on.  In fact, most books specificially encourage
> you to do so.  So, while the attribution is there, it's what would be
> the 'attributed public domain.'

I did not talk about copyright or legal rights. I was talking about
ethics, ettiquette, and loyalty. That aside, I'll try to respond to your
points.

You are quite correct that most authors do not make any such disclaimers
in their books requiring people to ask permission or to pay royalties.
Many authors don't care, so it's not an issue. Those who care will have
to consider it.

> I have to admit, that reading this list the past few weeks, has taken
> about 90% of the joy of folding out of origami.  The wonder of paper
> folding has given way to legal issues that should not be there.  Art
> is made to be copied.  It's made to be enjoyed.  It's made to be altered
> and expanded.  It's not made to be hoarded and possessed.

Where has the joy gone? There is still room in origami for all of these
things. We all have our points of view and we all have our agendas. We
will never see eye-to-eye on some things, but we can all still derive
what joy we can from what we do. As for art, it's made for many reasons.
Your reasons are yours, but they may not apply to other people. Or they
may apply in a different way.

> I don't think you all get the point.  If you want royalties, publish
> a book, share your work, your diagrams, and get on with it.  If you
> expect someone to pay you a royalty for each folded diagram, then you
> better put that in writing in your book, and I'll bet your book sales
> fall into the negative numbers.  There really is no evidence, by long
> popular tradition, that a folded diagram, or the method to get there,
> is copyrightable.  The final object is.  The final design is (or may
> be).  The diagrams are, as a printed work.

The final object is copyrightable, as are the diagrams themselves. The
process is not. Obviously, the law is insufficient in this regard in that
it is not designed to cover this circumstance. But you miss my point.
Copyright or not, it is a matter of courtesy and respect to the creator
to give credit where credit is due. And it is a matter of giving back to
the origami community to consider paying royalties if you are making
money using other people's designs. Think about it. The creators are
giving of themselves to make the books available. Given the amount of
time required to write/diagram/produce a book, most origami book authors
lose money on each book they produce. As I've said, some people are
perfectly willing to do this. But for the ones who want to make origami
their livelihood, what incentive do they have write books/share their
designs and their ideas if they know that they will lose money in the
process, and that other people will take their ideas and profit from them?

> But, I really, really think that if you continue with this, and I
> don't mean you as individuals, I mean you as all folders, that you
> will do more damage to the craft than you have any idea about.

I don't want this to become a legal issue. But when respect does not
exist, what does that leave us?

> I have to say "you" folders, because in this issue I don't consider
> myself one of you.  I delight in this, and in watching what happens
> when I take a flat piece of paper and make it into something else.
> And, once I forget that, I'll stop.  I think many of you have already
> forgotten that.

Hardly. We all love to fold paper, to feel the wonder of transforming
something into something greater. We love the inventiveness that comes up
with new designs. There is not need to ostracise yourself. Obviously, you
love what you do, and revel in your creativity. What I am arguing for is
that we recognise that love and creativity in others, too, and not take
advantage of it.

> If you want origami to proliferate, you can't keep cutting it's
> roots, or people will just ignore it for another craft.  You goals
> should be to respect the copyright on the books, and encourage people
> to purhchase rather than copy them, *NOT* limit their ability to fold
> designs.

But it's a two-way street. What you say here is well and good, but it
falls a little short of the mark. Respect the creator, not the copyright.
That's more important than the money. Don't take advantage of someone
else's creativity and efforts for your own benefit, whether that benefit
is monetary or not.

You'll notice that I've been writing completely in the third person on
this subject. Obviously I feel strongly on this topic, so I'll make this
a little more personal. I share my love of origami. My web page itself is
proof of this. The money I spend to go to international conferences in
order to teach, is further evidence. What do I gain financially? Nothing.
So you can see that sharing origami is a losing proposition for me, at
least in terms of money. And yet I do it because I love it, and I want
others to share my joy. But then I see the people in the origami
community, the ones who should know better, take advantage of others who
share more than I do. These people try to make a living by doing origami,
but face difficulty because others are stealing their ideas and
profitting from them. Why do I care? Because I hope to be able to devote
all of my time to origami someday. Protecting these others by building up
awareness and respect in the international origami community helps me,
too, in the long run. More than that, these people are among those I
count as friends, and are people that I respect. They deserve to be
treated better than that, especially within their own community (of
origami enthusiasts). Think about that.

Sharing is two-way. If you want people to continue to share their
creativity with you, you should do what you can to make it possible for
them to do so.

          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: Tue, 22 Jul 1997 17:01:56 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Fwd: Martian Air Force Denies UFO Crash Story

A friend of mine forwarded this to me, knowing my interest in origami --
it's an interesting "origami sighting," I suppose, and, of course, clear
evidence that technologically advanced aliens also know of origami and it's
practical applications...

>
>AIR FORCE DENIES UFO CRASH STORY
>
>Olympus Mons-Martian Air Force HQ (MPI)
>
>A spokesthing for the Martian Air Force denounced as false a spate of
>rumors that an
>alien spacecraft crashed in the desert near Ares Vallis on Friday.
>Appearing at a press
>conference today, General Oglethump The Lesser stated that "some debris
>has been
>collected from a high-altitude weather balloon that crashed on Thursday
>night.  It is not
>any kind of alien spacecraft.  But there has been some contamination by
>hazardous
>materials carried in some weather sensors, and public access is being
>denied for th
>e time being."
>
>The story broke late Friday night when an officer in the Air Force
>Information Office, Maj.
>Grthrip Jnfghto, stationed at nearby Bumplisongrrr Air Force Base
>contacted the Ares
>Vallis Daily Record with a story about a strange, balloon-shaped object that a
>llegedly dropped out of the mid-day sky onto the Ares Vallis desert,
>"bouncing several
>times, the first bounce at least a hundred feet high," before coming to
>rest, and then
>"deflating in a strange explosion of alien gas."  The Major stated that,
>after th
>e deflation, a witness claimed "the thing unfolded from the inside out,
>like origami, and a
>tiny six-wheeled vehicle drove out onto the desert."  Officials at Olympus
>Mons
>Headquarters telepathed to the Daily Record the next morning, denying that
>a UFO ha
>d crashed or been captured.  However, the area has been sealed off from
>public access
>until further notice, due to "concerns about possible hazardous materials
>contained in
>some of the weather balloon sensor gear," the General said.
>
>General Oglethump stated that "hysterical" stories of an alien vehicle
>roaming the
>Martian desert  were "blatant fiction, the kind of story only the Martian
>Daily Enquirer
>would run" probably created by an incidence of light from the planet Earth
>reflecti
>ng off low, fast-moving clouds of dust and frozen water vapor commonly
>found in the
>desert, and enhanced by emissions from swamp gas.  But the public has been
>slow to
>accept the Air Force explanation.  Said one critic:  "Mars doesn't have
>swamps."
>
>In a related story, the Air Force also denied that a pair of white,
>three-legged UFO's
>landed on Mars ten years ago, in another area near Chryse Planitia.  That
>area has been
>sealed off since the crash of another balloon carrying similar hazardous
>materia
>ls that have produced long-term contamination.  A court case is pending to
>provide
>access for independent investigators to those sites.
>
>
>
>------End forward message---------------------------
>
>
>Kenneth Carpenter
>Department of Earth Sciences
>Denver Museum of Natural History
>2001 Colorado Blvd.
>Denver, CO 80205
>
>crpntr@ix.netcom.com

                _,_
           ____/_\,)                    ..  _
--____-===(  _\/                         \\/ \-----_---__
           /\  '                        ^__/>/\____\--------
__________/__\_ ____________________________.//__.//_________

Jerry D. Harris                       (214) 768-2750
Dept. of Geological Sciences          FAX:  768-2701
Southern Methodist University
Box 750395                            jdharris@post.smu.edu
Dallas  TX  75275-0395                (Compuserve:  102354,2222)

"Science _does_ have all the answers...we just don't have
all the science."

                                -- James Morrow





Date: Wed, 23 Jul 1997 02:37:45 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Paper for a Tiger

On Tue, 22 Jul 1997, Marc Kirschenbaum wrote:
> I think Sebastian was talking mote about paper texture and colour, rather
> than a specific pattern.

Of course it's always difficult to tell where texture and color end and
where pattern begins. I sometimes like to make my models as realistic as
possible, and this includes choosing an appropriate color, and, if
possible, also an appropriate texture. I mean, if I had made my camel in a
goudy green, it would not have looked half as good! :-)

> Conversely, darker colours and thinner paper should be used to conceal any
> unwanted folded edges.

.. as in may complex models, where the folder tries to achieve one smooth
surface and hide any unwanted layers of paper inside. Examples are the
much-talked-about Tiger by Seiji Nishikawa, where an eight-sided point is
hidden inside a model. I don't think that this would come out well if folded
from a thicker paper, ie. Canson's Mi-Teintes or some other thick paper. This
point inside the model would spread the whole body apart.

The converse example are some models my Lionel Albertino I saw on display in
the Siebold Museum in Wuerzburg, esp. an eagle and a witch. When you see them,
you can tell that they were designed to be wet-folded from thick paper:
Albertino avoid having many layers of paper accumulating on one spot and
folding them at once. He does not try to hide the paper somewhere, but lets
all 8-sided points or others swing out freely.

Matthias, do you have photos of these models you could put on your web page? I
should also have some b/w pictures of them, but as I have no web page, no
scanner, nothing, this would be more convenient.

> The general rule is that patterns work much better with structuraly
> simplistic models, that have a large enough surface area to leave the
> pattern uncluttered.

For example, Robert Neale's Elephant Minor made from hand-dipped(?) grey
recycling paper. This model is pretty plain, but looks wonderful from this
thick and textured kind of paper.

> In picking a paper, one consideration is to ensure the paper does not steal
> the spotlight.

This is a difficult consideration. I often use paper that (IMHO) looks very
sophisticated, eg. mulberry paper with fibers running through it, handmade
rice paper etc. I sometimes think that these paper are worth to be displayed
on their own right, since so few people know such exquisite papers. But I also
hope that these papers don't "steal the spotlight", that people just regard it
as an interesting "add-on" to a good model.

> Personally I am excited to
> hear about someone (other than myself) who is doing interesting things with
> foil-backing (if you are listening Sebastian, we should exchange our ideas).

I'm listening, always listening. Perhaps we should exchange our paper as
well. (->PM)

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





Date: Thu, 24 Jul 1997 14:36:31 -0300 (ADT)
From: Judalyn <judalyn@ix.netcom.com>
Subject: Re: Decorating paper

K.A. Lundberg wrote:
>
>
>
> Michael Clark writes:
> > In the class, we decorated the paper side of foil papers. The materials
> > used were: concentrated liquid water colors (Dr. Somebody's -- anyone
> > remember the name?), kitchen sponges, the styrofoam food packaging trays
> > that you get meat packaged in (used as a palette), a bowl of water and
> > plenty of newspaper to protect your work surface. The sponges are cut into
> > pieces, and are used to apply the watercolors. <snipped>
>
>
>
> Michael Clark continues:
> > A very effective technique that I used was to apply a wash coat of bright
> > green, and then with a very wet sponge, I squeezed drops of medium brown
> > onto the paper from about 12 inches. The resulting paper made a very nice
> > lizard!
>
>
> for large foliage.
>
> Layering the colors like this, as you might image, soaks the paper, which is
     why fine bond paper is not used as it will break down from the moisture.
     The colors to varying degrees will penetrate to the back side of the paper
     so if one side needs to rem
>
> To put the finish back on the paper place it between two sheets of waxed
     paper while still wet and iron it dry this will reseal the fibers.
     Several sheets can be dried between the same pieces of waxed paper.  The
     resulting paper while having a slight w
>
> Michael Clark continues:
> >Although we didn't try it in the class, I think a toothbrush could be used
     to great effect >to spatter drops of paint.
>
> I have used toothbrushes, spray bottles set to mist (with and without
     snowflake stencils), eyedroppers, etc. to great effect.  Also using a
     small amount of oil mixed with water in a spray bottle and then just
     lightly misting the paper will create spots
>
> Sorry this was so long.  Hope someone finds it useful and that it makes sense.
>
> Kalei -- klundber@mnsinc.com
Hi Kalei,
        I found this very useful and read with interest your entire message.
Haven't really introduced myself to the list yet, although I've
corresponded with Joseph Wu initially.
        I've been making origami for several months but haven't advanced as
much as I'd like.  Any kind of model seems a little challenging.  I've
always had difficulty following patterns, (models) and that type of
thing.  Sometimes it's easier to design my own thing.
        Paper is a passion of mine and I've wanted to play with dyes and colors
etc.  All of these mixtures of paint, you mentioned using with computer
paper and then mentioned too much water would ruin them.  Is the waxed
paper step to save them - or did you find that tracing paper works
better for that particular procedure?
        I'm particularly interested in trying the tracing paper.  Your rose
sounds very pretty!!
        Thanks so much for sharing with us.  Judalyn





Date: Thu, 24 Jul 1997 17:03:26 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: Decorating paper

With all the discussion about more or less elaborate ways to
prepare and decorate paper BEFORE folding I really wonder why
it shouldn't be OK to decorate paper AFTER folding. Why not
paint a few stripes on that tiger or glue the occasional whiskers
on? As long as you don't use this to cover up a sloppy fold,
a well-applied decoration could add to the appearance of the model.
I haven't tried it yet, but I think I will some day. It could be
called "paintball origami" <g>. My daughter will be delighted to help!

Matthias

Old origamists never die, they just unfold.





Date: Thu, 24 Jul 1997 17:07:33 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Francis Ow

Brett Askinazi <brett@hagerhinge.com> sez

>Francis Ow had a homepage???
>Does anyone know the URL ?

Try http://www.focus-asia.com/home/hslim/ow.htm

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: Thu, 24 Jul 1997 18:15:02 -0300 (ADT)
From: casida@ere.umontreal.ca (Casida Mark)
Subject: Re: Decorating paper

Matthias wrote :

> Old origamists never die, they just unfold.

But rarely do they come unglued ;-)

                      ... Mark

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimie.umontreal.ca           |





Date: Thu, 24 Jul 1997 18:38:32 -0300 (ADT)
From: Lisa Hodsdon <Lisa_Hodsdon@hmco.com>
Subject: Re: Decorating paper

Somewhat jokingly, Matthais suggested:

>With all the discussion about more or less elaborate ways to
>prepare and decorate paper BEFORE folding I really wonder why
>it shouldn't be OK to decorate paper AFTER folding.

I recently had the revelation that rules are meant to be broken.
After all, can it really be art if you're just following the rules?

A model that can be considered *art* is generally *not* the one
that was folded by precisely following the rules.

The folder tweaked a fold here and there and sculpted the model
after the folds were completed to get just the look s/he wanted.

A designer looking for a certain outcome decides that using
non-square paper will give the best result.

A model cries out for color and the folder obliges.

*Breaking* the rules provides opportunities for innovation.
It shouldn't be done without reason, but you shouldn't have
to apologize either.

>Why not
>paint a few stripes on that tiger or glue the occasional whiskers
>on? <snip> It could be called "paintball origami" <g>. My daughter
>will be delighted to help!

And they will be wonderful---she does delightful work, even if she
is only 4. Will you get your son in on the act?

Lisa
Lisa_Hodsdon@hmco.com





Date: Thu, 24 Jul 1997 18:40:19 -0300 (ADT)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: Decorating paper

+Matthias wrote :
+> Old origamists never die, they just unfold.
Mark Casida replied:
+But rarely do they come unglued ;-)

Actually, that would depend on their size.

-D'gou





Date: Thu, 24 Jul 1997 19:54:44 -0300 (ADT)
From: Fran Manion <fmanion@capecod.net>
Subject: Me

Hello,
        PLease let me introduce myself. My Name is Sarah Manion, and I am new
to your circle of folders. I enjoy origami as a unique pass-time, but
recently I have opened up to many new possibilities to paper folding.

        I would like to ask a favor:
        I am a fairly new at the true origami art. Though I have been folding
since I was 4, I never really knew what could be done with a square
piece of paper.
        Creating my own models is my next big challenge. I have been studdying
the book, "Creating Origami" by, J.C. Nolan. (is this book out of
print?) The book has helped me a great deal through the enitial stages
of creation, but I'd like to know more. Most of you seem to be very
acomplished folders. Is there anyone out there who could give me some
advice on where to start? I'd apreciate it.

~Also:~

        The PAPER CRANE. When I think of origami's original models, the paper
crane comes to mind first. Not only is the crane graceful and beatiful,
but it is the basis for thousands of other origami models today.
        I think the crane should be made the official symbol of origami. What
do you think. PLease respond.


     ^

     \              /        \                  _
     *arah*





Date: Thu, 24 Jul 1997 19:56:36 -0300 (ADT)
From: Judalyn <judalyn@ix.netcom.com>
Subject: Re: Francis Ow

Francis Ow's homepage is:
http://sunflower.singnet.com.sg/~owrigami/

Regards, Judalyn@ix.netcom.com

Nick Robinson wrote:
>
> Brett Askinazi <brett@hagerhinge.com> sez
>
> >Francis Ow had a homepage???
> >Does anyone know the URL ?
>
> Try http://www.focus-asia.com/home/hslim/ow.htm
>
> 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: Thu, 24 Jul 1997 19:58:51 -0300 (ADT)
From: Fran Manion <fmanion@capecod.net>
Subject: changes

~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
>Why not
>paint a few stripes on that tiger or glue the occasional whiskers
>on? <snip> It could be called "paintball origami" <g>. My daughter
>will be delighted to help!

And they will be wonderful---she does delightful work, even if she
is only 4. Will you get your son in on the act?

Lisa
Lisa_Hodsdon@hmco.com
~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~**~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*

        I think one of the most magnificent things about origami is the
simplicity of it. It is so complicated and intriguing, yet it is so
simple! Just think for a moment. The arrt of origami requires three
simple things, a piece of paper, a pair of hands, and a bit of patients.
        When you do more to a model, such as put whiskers on it, or paint it, I
believe you loose a piece of that wonderful art. You change it.
        I'm not saying that this is wrong, or not right, all I'm saying is that
it's not the same when you change a model.
        John Montroll's design's are very different and may open up a whole new
dimension in design. I agree that the stripped or spotted models are not
as graceful as we may like, but I'm sure someone out there will find a
way to make them to our liking. PLease share that design with us all
when you discover it!

     *arah*

     fmanion@capecod.net
