




Date: Fri, 25 Jul 1997 00:31:40 -0300 (ADT)
From: Marc Kirschenbaum <marckrsh@pipeline.com>
Subject: Annual Collection '98

Hello everyone,

I know it might seem early talking about a publication that will first make
its appearance in a year from now, but over here at OrigamiUSA, we have
already begun working on it. Unfortunately for us, we do not have much
material to work with; in other words, we need your diagram submissions.
Please do not be shy about sending us some of your rougher looking work, as
we will do our best to make it look great. Of course, the better the
diagramming, the easier it is for us, and the more likely we will be able
to publish your work.

So what exactly makes things easier for us? If you are able to, please use
10pt Helvetica (no fancy formating), with a hanging indent. If you can get
your hands on a recent Annual Collection, you will find more details pon
the margins we use, and other details.

For those of you who do not know what I am talking about, the Annual
Collection is the flagship publication of OrigamiUSA. Each year, we manage
to compile a collection of over 100 models from around the world. The
majority of the models have never been seen before, yet most of the
creator's names should be familiar to most of you (I think it is great to
have my diagrams share the same pages as some of the big names out there).

Last year, a number of you were able to e-mail me your diagrams; this was
extremely successful, and I would still encourage that. Please send any
electronic files to my address <marckrsh@pipeline.com>. I can handle most
popular formats; if you are unsure, ask me first. You can also mail your
artwork, if you find that to be easier. Amterials should be sent to:

        OrigamiUSA
        15 West 77th Street
        New York, NY 10024-5192
        USA
        Att: Publications

If you are mailing use, please include two samples of your model; this has
proved to be a big help for us in the past.

Regardless of the mode of transmission, plese make a statement indicating
that you will give us permission to publish your work. More importantly to
you, please include your mailing address. If we publish your work, you will
get a complimentary copy of the publication.

Thank you all for your help.

Marc





Date: Fri, 25 Jul 1997 03:46:51 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: (NO): HOTMAIL

Rick Bissell wrote:
> There
> was a posting on another list that I am on about these
> so-called "free" mail providers.  It was claimed that
> they are in fact not really free, because they monitor
> the addresses of outgoing recipients and incoming

There are currently 5 origami-l subscribers using hotmail accounts.
Since spammail is usually sent out automatically, I would expect
origami-l to be spammed if hotmail really sold the addresses.
I have a hotmail account myself, and haven't noticed an increase
of spammail.
Plus, hotmail and other free mail providers wouldn't survive very
long if they really sold their users addresses! I would be more
concerned about AOL who admit that they DO sell their database and
obviously find nothing wrong with it.

Matthias





Date: Fri, 25 Jul 1997 03:47:47 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: Decorating paper

Lisa Hodsdon wrote:
> 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.

Well, I wouldn't consider my attempts at following someone else's
folding instructions "art". Maybe if my folding were really
perfect it could be said I re-create somebody else's art
(Strange enough, with paintings or currency this would be a crime).
But I agree that rules are meant to be broken, esp. if the rules are
being made according to personal taste.

> >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!

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

I don't think so. All he could contribute right now is a smelly,
yellow-brownish goo. Last night he discovered the spray-paint
technique. Spectacular effects, but...

Matthias





Date: Fri, 25 Jul 1997 05:05:30 -0300 (ADT)
From: Katharina Grif <Katharina.Grif@uibk.ac.at>
Subject: OUSA con.97

 Dear origami friends!
At last i have a possibility to thank all of you! I'd like to share
with you my impressions about NY Convention. But really it is not
only about origami...It was my first visit in USA at all,i took part
in one scientific symposium in Baltimore-it was extremely
interesting,then i spent 3 days in NYC-and i agree with D.Lister-it
IS the city of museums and for all the city of very friendly and
helpful people(i just remember how i lost my way in subway to FTI
early in the morning on Sunday...it was really an adventure.. :)),it
was very funny system of fast food ( you hardly find it in Europe),it
were meetings with my friends,whom i didn't see for 7 years, and it
was Convention!!!! For me it was exciting to meet another folders at
last, to see how do THEY fold the paper,what are they speaking
about,to fell the atmosphere of "to be together with origami
friends"... The exibition area was a dream place for me-to
see at last models not only at computer display or book
illustrations,but "life"-it was soooo great! Fantastic and so
vivid models of Eric Josel, modulars( my favorite kind of
origami),unbelievable complicated tessalations,every kind of
animals and insects....-after visiting such exibition you feel
yourself inspire for many years ahead! Becouse of very few time,that
i could spend in Convention,of course i didn't visit all the
classes,i'd like to,but for me it was not the importantests thing.
Here in Innsbruck i didn't find persons who like origami-there are
some mothers and kids,who like to fold with me "funtional
things",like flowers or snowflakes ..but it is only for parties,not
for enjoing origami as a process,as an art... So i was very happy at
Convention time, because i was among people,who understand me and
have the same passion :)) And after visiting several bookstores in
Baltimore and than in LA,and finging an origami books in every of
them i felt myself as i found a treasure!!! To find origami book in
bookstore without odering it before,without wating nearly 4
mounths-it looks like a science fiction!!! :)
 I just like to say once more THANK you to all,who made possible such
a wonderfull event as Origami Convention !





Date: Fri, 25 Jul 1997 10:24:59 -0300 (ADT)
From: Fran Manion <fmanion@capecod.net>
Subject: Re: Annual Collection '98

Marc,
        This sounds wonderful! I have a few questions though, is it all right
if your models may be simple? I'm a begginer in designing, and I'm not
sure about your standerds.
        Also, I don't have a program on my comp. that creates origami
directions. Is it still possible for me to send in directions? Please
e-mail me ASAP. Thank you very much:)

-*arah*





Date: Fri, 25 Jul 1997 10:40:50 -0300 (ADT)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: Yoshizawa books in English?

David Lister wrote:

>Origami Tokuhon I, often written as Origami Dokuhon I was still available
>until quite recently. Again it is in Japanese.

You may have forgotten that Origami Dokuhon I (at least MY copy.... :-) was
supplied with an English translation by Itsu Suzaki, printed on a separate
sheet. Better than nothing.....
>
>"Origami Museum I" is a translation of "Origami Hakabutsuchi I"

I'd like to add that the first Western translation of this important book
was Italian: Antologia di Origami - Animali (Il Castello, Milan). I was able
to promote this on occasion of Yoshizawa's first visit to Italy, in 1983. It
has been reprinted several times since, and is still in print.

Roberto

=========================
Roberto Morassi
Via Palestro 11
51100 PISTOIA
ITALY
tel & fax (+)39-573-20436
E-mail <morassi@zen.it>
=========================
Please DON'T quote my full
message in reply... I KNOW
what I have written ! :-)





Date: Fri, 25 Jul 1997 13:37:57 -0300 (ADT)
From: Contractors Exchange <contract@pipeline.com>
Subject: Re: Annual Collection '98

At 10:24 AM 7/25/97 -0300, Fran Manion <fmanion@capecod.net> wrote:

>       This sounds wonderful! I have a few questions though, is it all right
>if your models may be simple? I'm a begginer in designing, and I'm not
>sure about your standerds.

All levels of difficulty are acceptable. In fact, we have a difficult time
finding really simple models, so they are especially welcome.

>       Also, I don't have a program on my comp. that creates origami
>directions. Is it still possible for me to send in directions?

Most people still diagram their models by hand. This is perfectly fine for
us, provided the quality is good (just send us the best you can). If the
model is simple enough, and you have no diagramming skills, you could send
us step folds as an alternative.

Marc





Date: Fri, 25 Jul 1997 14:53:35 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Decorating paper

On Thu, 24 Jul 1997, K.A. Lundberg wrote:
> Sorry this was so long.  Hope someone finds it useful and that it makes sense.

Why does everybody think what he writes is too long? Write whatever you
like and as long as you like! Anyone who does not want to read it can
easily skip it, so why bother?

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





Date: Fri, 25 Jul 1997 14:57:49 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Books by Japan Publications

Hi!

Japan Publications surely publish wonderful books, such as "Creative
Origami", "Origami for the Connoisseur" and "Brilliant Origami".

But what I hate about their books is the quality of their binding: I have
CO and OFTC, and both books began to fall apart only a few months after I
bought them! :-( OFTC is beginning to loose pages one after another, while
with CO whole passages of the book fall apart. I have also seen this with
other books by JP, so this is no single experience. Those are no old
books, one is printed 1992 and the other 1996.

And I _hate_ this! These books are so wonderful, but now they are
practically unusable, because I don't want to destroy them further. And
I'd so much like to use them!

So, if anyone of you wants to publish a book, I'd advise you not to have
it published by JP. There are other companies such as Dover who can
produce really durable books. You'll save your readers a lot of trouble if
you do this.

And if my copy of CO continues to dissolve, I think that I'll cut off the
back and spiral-bind it as a last resort. This is ugly, I know, but I'd
rather have a usable book than a coffee-table book I can't use. :-(

Does anyone know other techniques of saving books that fall apart?

And does anyone have an address of JP where I can complain about this?

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





Date: Fri, 25 Jul 1997 15:29:17 -0300 (ADT)
From: "Melvin P. Lader" <lader@gwis2.circ.gwu.edu>
Subject: Model for crucifixion

I understand that somewhere there exists the directions for folding a
crucifix.  If anyone can inform me of the source and/or has the
directions, could you please contact me?

Roberta Lader
e-mail: lader@gwis2.circ.gwu.edu





Date: Fri, 25 Jul 1997 20:52:04 -0300 (ADT)
From: Ronnie White <ronew@mindspring.com>
Subject: Extraterrestrial Being

Does anyone have the folding diagrams for Jun Maekawa's Extraterrestrial Being?
A picture of the model is in Origami for the Connoisseur (page 25), but
there is only a developmental plan for it, no diagrams. And to make things
worse not all of the creases are on the developmental plan. Any help would
be appreciated.
Ron White
ronew@mindspring.com

"Never underestimate the incredible destructive power of origami"

                                                  Earthworm Jim





Date: Fri, 25 Jul 1997 23:07:47 -0300 (ADT)
From: Perry Bailey <pbailey@mtayr.heartland.net>
Subject: Re: Bookbindings long post

Sebastian Marius Kirsch wrote:
> But what I hate about their books is the quality of their binding:
> I have CO and OFTC, and both books began to fall apart only a few
> months after I bought them! :-( OFTC is beginning to loose pages one
> after another, while with CO whole passages of the book fall apart.
> I have also seen this with other books
> And if my copy of CO continues to dissolve, I think that I'll cut off
> the back and spiral-bind it as a last resort.
> Does anyone know other techniques of saving books that fall apart?

I would say the best book available, through libraries at least, is
Manly Bannisters book on Bookbinding.
I have reapaired and rebound a number of old books, usually I try to
save the origional cover to put back on, I am not a fan of spiral
binding.  As to what can be done for a book in trouble varies to how bad
the trouble is and the expense or even possibility of replacement.  One
of the best tools for working on a book that is either paperback or
simply a glued binding, is believe it or not, elmers glue all or any
other brand of similar white all purpose glue.  Do not use elmers school
glue as it is made to wash out, and does not handle humidity at all as
well.  Oddly enough the last book that I had to repair was an
interlibrary loan copy of OFTC  It had 6 or 7 pages simply lying loose
in the book.  To do this type of repair what I do is to make sure where
the pages came out is clean and also the edges that will be going in,
any stray detrius or old glue must be carefully removed.  If in the
spine gentle use of and old toothbrush will work, on the page, your
fingers are the most versatile instrument.  Once this is done, run a
very small bead of glue on the edge of the page that is to be repaired,
remember you never want to use too much glue, the edge of the page being
put in should never have more than a 1/8 th inch of glue on the edges.

Edge of page being replaced
_______________________________________________________________________
-----------------------------------------------------------------------
one eight inch outward

rest of page should be clear and untouched.

If there is more than one page at a spot in the book that has come
loose, then be very sparring of glue as it is easy to use to much and
stick to much of the page together.

Now if no one one minds a little more verbiage, the reason you are
having these problems is not just the fault of the publisher,  Many
craft publishers doe not use a strong enough binding, as they never
thought that anyone would be silly enough to break the binding by
flattening ouit the book at every page.  This shows that most of these
people have never folded origami, almost all of us are guilty of
flattening out the pages.  before responding to me as to how silly you
thought the preceeding statement was go talk to a book binder and ask
him or her first.  Dover, St. Martins and several other book companies
that deal in craft books use a different binding cement on their books
to take the strain of flattening out the books.  Even this is no
garantee.  If your problem is only usability of a book then by all means
have it spiral bound at the local kinkos, but if you want to keep it in
origional shape try not to flatten it out completely, or if you need the
book to be able to endure this then contact Hertzburg New Method and
have it permabound, they guarantee thier process for the life of the
book and cheerfully repair and binding anyone can manage to break,
though I warn you this is an expensive measure, but cheaper than a
school bookbindery.

This could go on for pages but since I don't want anymore Irate e-mails
I will call this good, any other help I can give, just ask.  All of the
above was only for glued bindings, stitched is another thing entirley.
Perry
Please excuse the length.

--
>From pbailey@mtayr.heartland.net

***************************************
* Hey, no matter where you go, there  *
* you are.  B. Bonzai :?)'            *





Date: Sat, 26 Jul 1997 01:27:16 -0300 (ADT)
From: Chinh Nguyen <chinhsta@gwis2.circ.gwu.edu>
Subject: Help On Montroll Elephant

Hello--just signed on.  I was wondering if anyone could help me with the
elephant model in Montroll's Animal Origami for the Enthusiast.  I have
gone on since to do the spider and crab, but for the life of me, I can't
figure out what to do with the tail.  Everything I try rips or tears the
paper.

It's step #53 onwards that throws me.  The dotted lines is at the half of
the model, and the top part should end up "inside," yet there seems to be
nowhere to make an indent.  Am I making sense?  Any help out there?

--Chinh Nguyen chinhsta@gwis2.circ.gwu.edu

"I was never more hated than when I tried to be honest.  Or when, even as
        just now I've tried to articulate exactly what I felt to be the
        truth."  -- Ralph Ellison, _The Invisible Man_





Date: Sat, 26 Jul 1997 03:53:14 -0300 (ADT)
From: Kenny1414@aol.com
Subject: Re: Model for crucifixion

Maybe this is what you're looking for:
"CRUCIFIX by Neal Elias", page 32 of "The Flapping Bird",
edited by Samuel Randlett.

The Flapping Bird was an origami magazine that ran for
two years. It was then collected into the book, published
by Magic Inc. in Chicago.

You might still be able to order just issue number six,
which has the Crucifix, but I would recommend getting
the whole book.

Aloha,

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





Date: Sat, 26 Jul 1997 05:09:12 -0300 (ADT)
From: DLister891@aol.com
Subject: Yoshizawa Books in English.

Thank you to Roberto Morassi for his comments (25th July 97) on Yoshizawa
books in English.

Yes, I was aware of the English translation of Origami Dokuhon I and i have
included it in my bibliography of Yoshizawa's books. (Perhaps we - and that
includes me -  should get used to writing it as "Origami Tokuhon", as
Yoshizawa does.)

For those who do not know what this is, it is a flimsy eight-paged leaflet,
quarto sized (183 mm x 258 mm) which contains a translation of the text only
of O. Dokuhon. (There I go again!). Excerpt for two tiny diagrams, it is
unillustrated. Curiously, the English title printed on it is "Creative
Origami" which is definitely not a translation of "Origami Tokuhon", whch
means "Paperfolding Reader". I think I have omitted to say in my Bibliography
that it was translated by Itsu Suzaki. I shall have to rectify that.

I was not aware that Origami Hakabutsuchi 1 had been translated into Italian
and that it is still available. I will certainly add this to my Bibliography,
next time I revise it. Thank you Roberto for letting me know.

I welcome all information about books or other writings by Yoshizawa. Does
anyone have a full list of the Japanese women's magazine articles where
Yoshizawa's work was first published from 1952 onwards?

I have still not received any more information about the chimerical Origami
Museum II. It is very sad that so few of Yoshizawa's books have been
published in Western languages.

But then, there are many sad facts about the publication of origami books.

David Lister

Grimsby, England.

DLister891@AOL.com





Date: Sat, 26 Jul 1997 09:07:15 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: changes

Fran Manion wrote:
>         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.

I agree that these seem to be simple. But... paper itself is far from
"simple"!
Making paper is a process that can become very complicated. First you
have to harvest the right natural material, e.g. papyrus or special
grasses or corn etc. Then you have to prepare it to make a pulp with
possibly several additives like cotton linters, "glue", flowers, etc.
Then comes the process of actually getting that pulp on a screen...
Once you've got your sheets of paper dried, you might want to print
designs on them or paint them to your liking. And only AFTER all
this you can actually start folding it.
And I won't even start discussing the fine motor skills and hand-eye
coordination required for the folding process...

>         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.

But why is it OK to change the paper BEFORE you fold it, and not OK
to change it AFTER you fold it?
And how about all the various methods to make a model more durable?
Laquer,
cold enamel, glue to keep it from unfolding, ... this is also done after
the folding process.

I guess what it all boils down to is that there are different styles
and opinions. There is no such thing as "simple" or "pure" Origami;
it just depends on where you draw the line. And that is a matter
of personal taste.

Matthias, wet-folding diapers...





Date: Sat, 26 Jul 1997 11:55:00 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Model for crucifixion

Kenny1414@aol.com sez

>Maybe this is what you're looking for:
>"CRUCIFIX by Neal Elias", page 32 of "The Flapping Bird",
>edited by Samuel Randlett.

Also in Elias 2 - BOS booklet 35 - currently the subject of a special
offer (all 3 for the price of two etc.)

Check out BOS supplies for details of ordering...

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/





Date: Sat, 26 Jul 1997 15:13:11 -0300 (ADT)
From: Teik Seong <tkteik@mbox2.singnet.com.sg>
Subject: Re: Books by Japan Publications

On Fri, 25 Jul 1997 14:57:49 -0300 (ADT), Sebastian Marius Kirsch wrote:

>And if my copy of CO continues to dissolve, I think that I'll cut off the
>back and spiral-bind it as a last resort. This is ugly, I know, but I'd
>rather have a usable book than a coffee-table book I can't use. :-(
>Does anyone know other techniques of saving books that fall apart?

Hello Sebastian,

        Perhaps its a bit too late for you, but what I do is to photocopy my
     "expensive" books and use it. I
don't have any idea how your books were bound together, but I have a book by
     Ondori/Japan Publications
which is stapled together, so, I doubt it will ever fall apart. Since you
     mentioned "pages", I think your binding
just lacked the staples, you can try if your pages have a 5 mm gap at the edge
     (my does). If your book is too
thick, you can divide them up, staple them, find the mid point of these
     sections and further staple them
together. Ta da! :) Hope this is of help.

Regards,
Teik.





Date: Sat, 26 Jul 1997 15:15:29 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re: Extraterrestrial Being

At 08:54 PM 1997-07-25 -0300, you wrote:
>Does anyone have the folding diagrams for Jun Maekawa's Extraterrestrial Being?
>A picture of the model is in Origami for the Connoisseur (page 25), but
>there is only a developmental plan for it, no diagrams. And to make things
>worse not all of the creases are on the developmental plan. Any help would
>be appreciated.
>Ron White
>ronew@mindspring.com
>

That's one of the things that frustrates me about OftC.  I do not have the
technical skill to figure these out.  But the title does give fair
warning.................

    Cathy





Date: Sat, 26 Jul 1997 15:17:12 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re: Bookbindings long post

>> Does anyone know other techniques of saving books that fall apart?
>
>I would say the best book available, through libraries at least, is
>Manly Bannisters book on Bookbinding................This could go on for
pages but since I don't want anymore Irate e-mails I will call this good,
any other help I can give, just ask.  All of the
>above was only for glued bindings, stitched is another thing entirley.
>Perry
>Please excuse the length.
>
>--
>>From pbailey@mtayr.heartland.net

No need to excuse the length, this kind of information is the reason I value
being on the list.  My OFTC has the pages for making the rose falling out!
Yes, I flattened the book,  tsk, tsk.....  but I did get the rose folded,
finally!

                                                Cathy





Date: Sat, 26 Jul 1997 15:19:23 -0300 (ADT)
From: Amy Huang <ahuang@gpu.srv.ualberta.ca>
Subject: Tiger paper and others

Hi there!

        I just got back from a small trip and found a mound of e-mail about
origami (ofcourse) sitting in my mailbox. I noticed that there was some talk
about what kind of paper to use for tigers. I have a suggestion to make.

        At Wilson's Stationary store, I bought some packages of Roylco craft
paper. One of the packages are all animal patterned papers. The animal
patterns include those for zebras, giraffes, tigers, leopards and others.
This becomes useful when folding a zebra for instance. I have folded a horse
using the zebra patterned paper and modified it a little and it has become a
very effective zebra. Also, the patterned papers make the foldings look more
realistic. However, these papers are not cut in squares but rather the
regular rectangular sized papers that you normally see. For this reason, if
you need to have square pieces, you will have to cut the paper down to size.
Also, the paper is of greater thickness, not like the thin origami paper.
So, folding more simpler models using this paper is more appropriate.

        Another package that they offer is "Skin tone paper". This package
has many different shades of brown. I have found this useful since many
origami animals are brown, and using different shades adds variety to your
foldings.

        I have found both packages useful for animal origami projects. I
believe that Roylco also offers foil but I haven't seen them yet. Anyway, I
highly recommend these papers for animal projects.

        Just another idea...
        Amy
        http://www.angelfire.com/la/Lal





Date: Sat, 26 Jul 1997 15:21:21 -0300 (ADT)
From: PErick3491@aol.com
Subject: Re: Yoshizawa Books in English.

Can anyone tell me where to buy the translation of Yoshizawa' O. Dokuhon.  I
have the book and have always wanted to know what he is saying.  Thanks.  Pat





Date: Sat, 26 Jul 1997 16:35:16 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Bookbindings long post

Hi Perry!

On Fri, 25 Jul 1997, Perry Bailey wrote:
> I am not a fan of spiral binding.

I am, though. It may not be very aesthetical or look good on your favourite
coffee-table, but I think it's ideal for craft books: It's very durable, and
you can make the book lie flat without problems. And if they use the Ibico
plastic binding, you could also easily repair the book: If a page has ripped
out, you simply open the binding, take the damaged page out, photocopy it and
put it back in. No problem.

But I also believe that a plastic spiral binding is much more expensive
for the publishing company. I don't even know whether this can be done by
a machine at all.

> As to what can be done for a book in trouble varies to how bad the trouble
> is and the expense or even possibility of replacement.

As for that, my copy of CO cannot be replaced, since I have Kasahara's
signature on the front page. A souvenir from Wuerzburg. :-)

> One of the best tools for working on a book that is either paperback or
> simply a glued binding, is believe it or not, elmers glue all or any other
> brand of similar white all purpose glue.

In Germany, this is Henkel Ponal, a glue originally meant for glueing wood. I
have bound a few books for our school library with that. These books were so
badly damaged that I simply took out all the pages, cut the back off and glued
them together again. I don't know whether they'll last, though, since I've
made that only a few months ago.

> Oddly enough the last book that I had to repair was an interlibrary loan
> copy of OFTC It had 6 or 7 pages simply lying loose in the book.

6--7 pages in an interlibrary book? That's pretty good for OFTC, I'd say!

> Now if no one one minds a little more verbiage,

As for me, I don't!

> before responding to me as to how silly you thought the preceeding statement
> was go talk to a book binder and ask him or her first.

I don't think that this is a silly argument. Just look around you, and you'll
see how many things are ill-fitted for their purpose. For us, this does not
sound very far-fetched, but many people simply don't think of such
things. Perhaps it's up to us to bring this to the publisher's attention. Now
what's the address of JP?

> Dover, St. Martins and several other book companies that deal in craft books
> use a different binding cement on their books to take the strain of
> flattening out the books.

Well, there are people who do think, and there are those who don't.

> If your problem is only usability of a book then by all means have it spiral
> bound at the local kinkos, but if you want to keep it in origional shape try
> not to flatten it out completely,

Well, I'd like to have both. :->

I'll probably go to our local library next wek and ask them how they keep
their books in shape. I have noticed that they have a lot of paperback books
that are specially hard-bound for them. I don't know if this is a
special-library-edition, or if they have it done for them, but I'll ask
them. (Since I've made an exhibition there, I'm on particularly friendly terms
with them. :-) )

> or if you need the book to be able to endure this then contact Hertzburg New
> Method and have it permabound, they guarantee thier process for the life of
> the book and cheerfully repair and binding anyone can manage to break,
> though I warn you this is an expensive measure, but cheaper than a school
> bookbindery.

Well, as I live in Germany, I probably can't contact "Hertberg New
Method". But do you have an image about how expensive this is? I mean, those
two books aren't inexpensive either.

> This could go on for pages but since I don't want anymore Irate e-mails

Irate emails? Who should be sending you Irate emails, and even ones with a
capital I? :->

> I will call this good, any other help I can give, just ask.  All of the
> above was only for glued bindings, stitched is another thing entirley.

If JP used stitched bindings, I probably wouldn't have the problems I'm
currently experiencing.

BTW: Augustus, a German publisher of craft books, only publishes
hard-bound books, and they are not much more expensive that paperback
books. For example, Paulo's "Pfiffiges Origami" with 80 pages is IIRC
19.80DM (~12$). And you can be sure that these books won't fall apart.

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





Date: Sat, 26 Jul 1997 17:12:05 -0300 (ADT)
From: Joseph Wu <origami@planet.datt.co.jp>
Subject: Delayed messages and a question

Hmm...seems like a bunch of messages I sent to the list earlier this week just
arrived today. Weird.

Anyway, here's the question. There's a paper folder here in BC who's of
Vietnamese descent and is looking to contact P.D. Tuyen. The publisher has
been unable to help since Mr. Tuyen has moved back to Vietnam and has left no
forwarding address. Does anyone have a current address for Mr. Tuyen?

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





Date: Sat, 26 Jul 1997 17:16:09 -0300 (ADT)
From: "Melvin P. Lader" <lader@gwis2.circ.gwu.edu>
Subject: Re: Model for crucifixion

Thank you so much for the info!

Roberta
e-mail: lader@gwis2.circ.gwu.edu

On Sat, 26 Jul 1997 Kenny1414@aol.com wrote:

> Maybe this is what you're looking for:
> "CRUCIFIX by Neal Elias", page 32 of "The Flapping Bird",
> edited by Samuel Randlett.
>
> The Flapping Bird was an origami magazine that ran for
> two years. It was then collected into the book, published
> by Magic Inc. in Chicago.
>
> You might still be able to order just issue number six,
> which has the Crucifix, but I would recommend getting
> the whole book.
>
> Aloha,
>
> Kenneth Kawamura                kenny1414@aol.com
> P.O. Box 6039
> E. Lansing,  MI  48826-6039





Date: Sat, 26 Jul 1997 18:12:03 -0300 (ADT)
From: Perry Bailey <pbailey@mtayr.heartland.net>
Subject: Re: Me

Fran Manion wrote:
> I think the crane should be made the official symbol of origami.

But then what would we use for the unofficial symbol??
Perry
--
>From pbailey@mtayr.heartland.net

***************************************
* Hey, no matter where you go, there  *
* you are.  B. Bonzai :?)'            *





Date: Sat, 26 Jul 1997 18:30:13 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Paper art (was:Re: Paper for a Tiger)

Sebastian Marius Kirsch wrote:
> Matthias, do you have photos of these models you could put on your web page?

Sorry, no.

> 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.

You ain't seen nothin' yet! There ARE people that display their own,
handmade paper. If you want to see just how beautiful paper can be,
take a look at the webpage of the paper artist Jean Marvell:
http://www.proaxis.com/~marvellj/
Her work is really impressive, although I doubt she'd want her paper
to be folded :-).

Matthias, hands in pulp





Date: Sat, 26 Jul 1997 18:36:54 -0300 (ADT)
From: Laurie Bisman <lbisman@ihug.co.nz>
Subject: Re: Yoshizawa Books in English.

Pat said...

> Can anyone tell me where to buy the translation of Yoshizawa' O. Dokuhon.
 I
> have the book and have always wanted to know what he is saying.  Thanks.
Pat

My copy came with three (yes 3) copies of the translation. I would be happy
to send you one Pat if you email me privately with your snailmail address.

That means I have two left. Obviously I want to keep one, but if anyone
else would like the other, I will send it to you.

It appears to be able to be photocopied fairly easily anyway, so could make
a copy if necessary.

Regards..

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Laurie Bisman    lbisman@ihug.co.nz (ICQ number  1458799)
Web page          http://homepages.ihug.co.nz/~lbisman/index.html
Company           http://www.addlink.ac.nz/Home.htm
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

----------
> From: PErick3491@aol.com
> To: Multiple recipients of list <origami-l@nstn.ca>
> Subject: Re: Yoshizawa Books in English.
> Date: Sunday, 27 July 1997 06:23
>
> Can anyone tell me where to buy the translation of Yoshizawa' O. Dokuhon.
 I
> have the book and have always wanted to know what he is saying.  Thanks.
Pat





Date: Sat, 26 Jul 1997 19:02:41 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re: Me

At 06:12 PM 1997-07-26 -0300, you wrote:
>Fran Manion wrote:
>> I think the crane should be made the official symbol of origami.
>
>But then what would we use for the unofficial symbol??
>Perry
>--
>>From pbailey@mtayr.heartland.net

My vote is for the butterfly.....
                                                                Cathy





Date: Sat, 26 Jul 1997 19:58:52 -0300 (ADT)
From: Laurie Bisman <lbisman@ihug.co.nz>
Subject: Web Page updated...

My origami page has been updated..... I am still working on quality of
scans, but have a few more to print so may use those first.

Regards..

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Laurie Bisman    lbisman@ihug.co.nz (ICQ number  1458799)
Web page          http://homepages.ihug.co.nz/~lbisman/index.html
Company           http://www.addlink.ac.nz/Home.htm





Date: Sun, 27 Jul 1997 01:07:29 -0300 (ADT)
From: Norm Lillibridge <norman_lillibridge@eee.org>
Subject: Re: copyright

Joseph Wu wrote:
> .....
> 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.

Well Said!  I sincerely hope you become able to devote all of your time
to origami, for both of our sakes.
                          Norm





Date: Sun, 27 Jul 1997 02:09:24 -0300 (ADT)
From: "J. Robert A. Lemieux" <rlemieux@ma.ultranet.com>
Subject: Re: Model for crucifixion

Hi Roberta,

 A decent set of folding diagrams for the Crucifixion can
be found in Vol. 1 of "Quarterly ORU Folding Diagrams on
pages 131 to 134.

  This publication has 200 pages, the first 16 pages are
color photos and indedx, the rest are devoted to diagrams.

  It is available from the Sasuga Japanese Bookstore at
7 Upland Road in Cambridge, MA USA 02140. (617) 497-5362.

  The publication has Japanese text, but the diagrams are
well done.

   Sasuga also has a web page:

          http://world.std.com/~sasuga
or go to:

          http://world.std.com/~sasuga/origami3.html

for information on the above publication.

Bob





Date: Sun, 27 Jul 1997 02:45:30 -0300 (ADT)
From: Bryan Feir <jenora@istar.ca>
Subject: Re: NOR: for those with listserv problems

On Mon, 21 Jul 1997, Valerie Vann wrote:

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

   And here I had the opposite problem... last week I got resubscribed to
the list out of the blue, despite having been unsubscribed since April.
Not that I mind, though...

---------------------------+---------------------------------------------------
Bryan Feir           VA3GBF|"The professor holds the keys to the gates of
bryan@sgl.ists.ca          | knowledge; not to let the student in, but to let
jenora@istar.ca            | him get out and on to better things." -- Leacock





Date: Sun, 27 Jul 1997 03:58:23 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: changes

On Sat, 26 Jul 1997, Matthias Gutfeldt wrote:
> But why is it OK to change the paper BEFORE you fold it, and not OK
> to change it AFTER you fold it?

Because paperfolding (origami) is about _folding_ paper. How you make the
paper is a different issue, but after the paper is there, you should, ie. I
will, only fold and not do anything else to the paper.

> And how about all the various methods to make a model more durable?  Laquer,
> cold enamel, glue to keep it from unfolding, ... this is also done after the
> folding process.

I don't use any of them. Well, that's not quite true. I seldom glue models,
and never glue models for an exhibition, but I have been guilty of wiring
models for exhibitions. I think that as long as the stuff can be taken away
again without harming the paper, it's fine.

> I guess what it all boils down to is that there are different styles and
> opinions. There is no such thing as "simple" or "pure" Origami; it just
> depends on where you draw the line. And that is a matter of personal taste.

It is _all_ a matter of personal taste! But for me, I try to distinguish
strictly between pre-origami and origami --- when I make the paper, I try to
think as little as possible of the finished model, ie. I try not to think of
the finished model's geometry for determining how and where to paint
something, etc.; and when I fold the paper, I only fold and don't do anything
else. That's my own rule, but you are free to adopt it for yourself. :-)

> Matthias, wet-folding diapers...

I thought you folded the diapers before he peed in them, not afterwards!

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





Date: Sun, 27 Jul 1997 04:01:36 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Books by Japan Publications

On Sat, 26 Jul 1997, Teik Seong wrote:
>       Perhaps its a bit too late for you, but what I do is to photocopy my
> "expensive" books and use it.

The problem is that I _like_ to work from real books.

> I don't have any idea how your books were bound together, but I have a book
> by Ondori/Japan Publications which is stapled together, so, I doubt it will
> ever fall apart. Since you mentioned "pages", I think your binding just
> lacked the staples, you can try if your pages have a 5 mm gap at the edge
> (my does). If your book is too thick, you can divide them up, staple them,
> find the mid point of these sections and further staple them together.

Hm. I have already seen hand-bound lumbecked books that were stapled together,
so this should be possible as well. But I'll first check what the folks at my
library say.

On the other hand, when the book is stapled together, it can't be laid flat at
all! :-(

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





Date: Sun, 27 Jul 1997 04:04:47 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Model for crucifixion

On Sat, 26 Jul 1997, Nick Robinson wrote:
> Also in Elias 2 - BOS booklet 35 - currently the subject of a special
> offer (all 3 for the price of two etc.)

I was tempted to add that as well, but I thought it might be a _little_
difficult to fold the crucifix from these instructions. :-)

BTW: Are there diagrams for Elias' animal base published anywhere? In the
three Elias booklets, there are quite a lot of animals folded from this
base, but the base itself is not diagrammed anywhere.

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





Date: Sun, 27 Jul 1997 09:16:11 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: A matter of taste (was:Re: changes)

Sebastian Marius Kirsch wrote:
> It is _all_ a matter of personal taste! But for me, I try to distinguish

> strictly between pre-origami and origami --- when I make the paper, I try to
> think as little as possible of the finished model

Uh-oh, wasn't there a thread about preparing camel and tiger paper... ?

> > Matthias, wet-folding diapers...
> I thought you folded the diapers before he peed in them, not afterwards!

You don't know a thing about diapers :-).

Matthias





Date: Sun, 27 Jul 1997 09:20:18 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: Me

> >> I think the crane should be made the official symbol of origami.
> >
> >But then what would we use for the unofficial symbol??
> >Perry
>
> My vote is for the butterfly.....
>                                                                 Cathy

And don't forget the Secret Origami Handshake!

Matthias





Date: Sun, 27 Jul 1997 14:50:23 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: official symbols for origami?

At 09:21 AM 1997-07-27 -0300, you wrote:
>> >> I think the crane should be made the official symbol of origami.
>> >
>> >But then what would we use for the unofficial symbol??
>> >Perry
>>
>> My vote is for the butterfly.....
>>                                                                 Cathy
>
>
>And don't forget the Secret Origami Handshake!

>Matthias

Hey!! I didn't know there was such a thing!  Do tell........But then will it
still be a secret handshake?

Talking of folding diapers reminds me that I learned how to fold sheets from
this list.( thank you Judith!)  Practical skills abound on this list!
Bookbinding, computer graphics, paper making..........

    Cathy





Date: Sun, 27 Jul 1997 15:28:17 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: official symbols for origami?

>Hey!! I didn't know there was such a thing!  Do tell........But then will it
>still be a secret handshake?

        The secret origami handshake is the one where, when the two
participants' fingers are entwined, they form a bird that flaps its wings
when you pull their thumbs.  ;-D

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

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: Sun, 27 Jul 1997 16:22:02 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: Model for crucifixion

Sebastian Marius Kirsch <skirsch@t-online.de> sez

> Are there diagrams for Elias' animal base published anywhere?

Dunno. The BOS have (somewhere) microfiches of Elias' *entire*
collection, but these are less than accessible at the moment.

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: Sun, 27 Jul 1997 17:51:53 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re: official symbols for origami?

At 03:30 PM 1997-07-27 -0300, you wrote:
>>Hey!! I didn't know there was such a thing!  Do tell........But then will it
>>still be a secret handshake?
>
>        The secret origami handshake is the one where, when the two
>participants' fingers are entwined, they form a bird that flaps its wings
>when you pull their thumbs.  ;-D

>Jerry D. Harris                       (214) 768-2750

Ahhhhh!  an action model.................

                                                                        Cathy





Date: Sun, 27 Jul 1997 18:31:17 -0300 (ADT)
From: Kenny1414@aol.com
Subject: Re: Model for crucifixion

In a message dated 97-07-27 06:20:17 EDT, you write:

<< BTW: Are there diagrams for Elias' animal base published anywhere? In the
 three Elias booklets, there are quite a lot of animals folded from this
 base, but the base itself is not diagrammed anywhere.  >>

I think it was published in a back-issue of The Origamian, along with his
Rabbit from that base. Unfortunately, my entire collection of Origamian
back issues disappeared sometime around 1985. *sigh*

I've forgotten that base, but I think it was a bird base derivative, and I
know
I came up with an elephant and a giraffe from it.

Maybe someone out there can supply you with more details.

Aloha,

Kenneth Kawamura         kenny1414@aol.com





Date: Sun, 27 Jul 1997 18:45:34 -0300 (ADT)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: A matter of taste (was:Re: changes)

On Sun, 27 Jul 1997, Matthias Gutfeldt wrote:
> > strictly between pre-origami and origami --- when I make the paper, I try to
> > think as little as possible of the finished model
> Uh-oh, wasn't there a thread about preparing camel and tiger paper... ?

.. I try to think as little as possible of the _geometry_ and the
_folding process_ of the finished model, which would lead to such fancy
tehniques like coloring only the parts of the paper that will be visible
in the final model, or glueing paper only to those parts of the backside
that will be visible afterwards, or making two-color models by glueing two
different colors to one side, that sort of things. Get my point?

> You don't know a thing about diapers :-).

Probably. Although I spent quite a fraction of my life wearing them. :-)

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





Date: Sun, 27 Jul 1997 19:54:43 -0300 (ADT)
From: "Nancy B. McNitt" <nbm@mindspring.com>
Subject: Re: Books by Japan Publications

There are many books available on bookbinding. If anyone wants specific
information on this send me a separate E-mail. nbm@mindspring.com
Glenn McNitt
At 04:01 AM 7/27/97 -0300, you wrote:
>On Sat, 26 Jul 1997, Teik Seong wrote:
>>      Perhaps its a bit too late for you, but what I do is to photocopy my
>> "expensive" books and use it.
>
>The problem is that I _like_ to work from real books.
>
>> I don't have any idea how your books were bound together, but I have a book
>> by Ondori/Japan Publications which is stapled together, so, I doubt it will
>> ever fall apart. Since you mentioned "pages", I think your binding just
>> lacked the staples, you can try if your pages have a 5 mm gap at the edge
>> (my does). If your book is too thick, you can divide them up, staple them,
>> find the mid point of these sections and further staple them together.
>
>Hm. I have already seen hand-bound lumbecked books that were stapled together,
>so this should be possible as well. But I'll first check what the folks at my
>library say.
>
>On the other hand, when the book is stapled together, it can't be laid flat at
>all! :-(
>
>Yours, Sebastian               sebastian_kirsch@kl.maus.de,skirsch@t-online.de





Date: Sun, 27 Jul 1997 22:56:24 -0300 (ADT)
From: Perry Bailey <pbailey@mtayr.heartland.net>
Subject: Re:unof symbol

Cathy Palmer-Lister wrote:

> >Fran Manion wrote:
> >> I think the crane should be made the official symbol of origami.
> >
> >But then what would we use for the unofficial symbol??
> >Perry

> My vote is for the butterfly.....
>
Yes but which one?

--
>From pbailey@mtayr.heartland.net

***************************************
* Hey, no matter where you go, there  *
* you are.  B. Bonzai :?)'            *





Date: Mon, 28 Jul 1997 01:47:45 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Re: Annual Collection '98

Marc,

A suggestion for the next year's (1999) Collection:

What do you use to edit the Collection? Pagemaker?

How about working up some template diagram pages with
the right margins, typefaces, etc., maybe in Pagemaker,
MSWord, WordPerfect for Windows, and post the templates
on the OUSA page where we can download them. Would save
"reinventing" the format... And more folks could send
near finished electronic pages.

And/or accepting Acrobat PDF format files, (starting
from one of the templates, of course.) These will print
at whatever you designate, e.g. 600 dpi Laserjet or
equivalent, using the standard ubiquitous Postscript
fonts. All you'd have to do is put the contributed PDF
files together with your PDF files and the thing could
go to the printer. :-)

Then in the year 2000: make the Collection available in
PDF format as well as print form. Save trees. Save print
costs. Save postage & shipping. Save oil. No more pages
that hang up on each other (fat comb bindings). No more
torn pages. No more paper dust from dull punches all
over the place...

Get it on a CDROM (cheaper to ship). Or download it for
a modest fee, like shareware (member discount).

Those who want hardcopy could print their own.
And the PDF format could have a fully searchable index.
And people could include photos, even color photos,
without adding to the printing costs.

.just a few thoughts.
Valerie_Vann@compuserve.com





Date: Mon, 28 Jul 1997 01:50:10 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: NO: late postings

I got bitten by the same late posting bug as Joseph Wu:
unfortunately with what I hoped would help explain what
was going on. As you may know, mail gets routed through
the Internet by "available" route, and I'm betting that
some mail got hung up at one of the sites that got taken
out by the domain name problem 2 weeks ago. (See my
earlier post that just showed up...). Also, some sites
and listservers crashed or were taken down to prevent
a crash, and ours may have been one of them. This might
also explain why someone got involuntarily "resubscribed";
perhaps the listserver had to restore the member file from
an old backup. One day I found my Compuserve mail box
filled with old mail 2 months old. The next day they were
back to normal. There was a lot of weird stuff like that
going one.

--valerie
Valerie_Vann@compuserve.com





Date: Mon, 28 Jul 1997 02:48:52 -0300 (ADT)
From: "Chamberlain, Clare" <Clare.Chamberlain@health.wa.gov.au>
Subject: hope this is better this time

I still don't quite know if this is the way to send stuff, but in
response to the notion of an origami symbol, I agree with the paper
crane, but please use the traditional one and not the flapping bird (A
la BOS), as the thick neck & tail destroys the elegance of the model.

Otherwise, one could use a square of paper to imply the purity of
origami, crease patterns for complexity, and a crumpled up sheet for the
recyclability (and occasional frustration) of the art.  Paper money
could show the cheapness (although in Australia we have none, only
plastic notes), white paper could show purity associated with death
(after all, much origami in Japan is associated with Shinto and
funerals).  Maybe high-tech origami could be symbolised by a sheet of A4
paper (as could the death of our rainforests) spewing out of a printer?

OK, let's get back to the crane - it's a symbol of longevity, and has
remained the ultimate origami model and become a huge symbol of peace
and hope.  Why do we need anything else.

On a final note, thanks to the two people who wrote welcoming letters on
how to better use this system, and @#$% to those of you (and there were
many) who were totally unsympathetic and even rude when I returned 'the
lot' by accident.  Someone with a tenderer skin would have crept back
into their holes and never come out again - you're probably the same
people who sneer at new comers to meetings, saying "What, you've never
heard of Yshizawa!?" Remember, origami is for FUN and Sharing!

Clare Chamberlain
(Clare.Chamberlain@health.wa.gov.au)
Planning Officer
Program Development
Health Department of Western Australia





Date: Mon, 28 Jul 1997 15:53:15 -0300 (ADT)
From: Cathy Palmer-Lister <cathypl@generation.net>
Subject: Re:unof symbol

The one by Yoshizawa.  I think it's the one most like a butterfly, but it's
so easy little children can fold it.  They love to decorate it, too.  Last
year, inspired by someone on this list, I had a class welcome all the new
students and staff members with butterflies.  It was great fun!

                                                                Cathy

At 10:58 PM 1997-07-27 -0300, you wrote:
>Cathy Palmer-Lister wrote:
>
>> >Fran Manion wrote:
>> >> I think the crane should be made the official symbol of origami.
>> >
>> >But then what would we use for the unofficial symbol??
>> >Perry
>
>> My vote is for the butterfly.....
>>
>Yes but which one?
>
>--
>>From pbailey@mtayr.heartland.net
>
>***************************************
>* Hey, no matter where you go, there  *
>* you are.  B. Bonzai :?)'            *





Date: Mon, 28 Jul 1997 16:08:31 -0300 (ADT)
From: jeffry kerwood <jkjeff@hotmail.com>
Subject: Tiger Strips Again? Yes.

In all this talk about using decorative paper (or even glue or
eegghhhhhh staples!!!!) I, in my mind, always come back too, WHO is it
that will look at the model, and what does my origami need to say to
communicate with them.

If YOU yourself are the audience then fold it however you like then put
it in a drawer. If, say a 2nd grader is the audience, put the strips on
the tiger (they won't get it if you tell them you folded the tiger
without strips so that they could appreciate the wonderful art of
origami). And the last audience, if you are folding for the origami
intelligentsia who will recognize and appreciate your graceful execution
of a *double inside out reverse flip squash* then by all means, leave
the strips off.

Tom Wolfes, *The Painted Word*, about painted art. "Realism does not
lack its partisans, but it does rather conspicuously lack a persuasive
theory. And given the nature of our intellectual commerce with works of
art, to lack a persuasive theory is to lack something crucial - the
means by which our experience of individual works is joined to our
understanding of the values they signify.... In short: frankly, these
days, without a theory to go with it, I can't see a painting. ...now
squinting, now popping the eye sockets open, now drawing back, now
moving closer - waiting, waiting, forever waiting for ...  IT .... I had
gotten it backward all along. Not 'seeing is believing,' you ninny, 'but
believing is seeing.' ...paintings and other works exist only to
illustrate the text." (I hope I have selected the best text from his
book to make my point. It is a short, quick read, book. I recommend it.
If you only read the first 10 pages you'll get the gist.)

If you are folding tigers without strips (for the purpose of *exposing*
the true origami), make sure your audience understands the theory behind
the art. *Most* people do not see theory, they see art. For me, I prefer
to see art first. If subsequently understanding a theory improves my
response to the work then all the better. Folding a tiger with strips is
not bad art, no more so than painting a rabbit that looks like a rabbit
is bad art.

#########

An unrelated note about 4 year olds. Several prior emails have mentioned
their 4 year olds "appreciation" of their origami. Well, my 4 yo has
saved my ego, sanity, psyche, numerous times. Here is the typical
scenario. I ask my wife, how is this, "Oh, nice dear, what is it, a
submarine?". I quickly turn to my 4 yo, "what do you think?", "NICE
snail daddy". He saw my snail and made me whole.

#########

I agree with the crane for our symbol (or mascot should we need one at
the next OBA finals?). But, who gets to make this official? My vote is
for, ummmm, ME. ;>D

#########

Jeff Kerwood (JKJEFF@HOTMAIL.COM)

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