




Date: Wed, 20 Aug 1997 10:23:16 -0300 (ADT)
From: DLister891@aol.com
Subject: Old European Origami.

Kevin Kinney asks about the European tradition of paperfolding and in
particular asks first about the "Strong Moorish/Spanish tradition" referred
as a paperfolder.

A full answer would take a book, but here are a few comments "off the cuff".
I am sorry for the disorder and inadequacy of these jottings and would
emphasise that a proper treatment would take at least a book. Particularly
for the 19th and 20th centuries, there is very much more to be said.

I will take the risk and send the whole of this as one posting, but if
anyone's mailbox won't accept it all, please let me know and I will divide it
up and send it as several postings at a later date.

1.  First, a general, but necessary and important comment: The subject of the
History of Paperfolding is beset by enormous amount of conjecture which is
based on little substantial fact. Sadly it is all too easy for one person's
bright and intelligent  idea to become another person's strong conjecture,
and then to emerge as yet another person's established fact. Origami books
are full of what they put forward as history but which are no more than
conjecture and misleading conjecture at that.

I have the greatest respect for Peter Engel and for his magnificent book:
"Folding the Universe: Origami from Angelfish to Zen". Sadly, I think the
weakest section is that on the history of paperfolding. I think that Peter
would openly admit that his research into this aspect of paperfolding was not
primary but was based on what other people had written. Indeed, he lists the
sources of his information. I don't think he can be blamed for their
inadequacies. The pity is that some of those sources contain too much
conjecture and too little established fact.

Having said that, I must admit that firm fact is hard to come by in the
history of paperfolding. As I have pointed our, there is no archaeology of
paperfolding. That is not absolutely true. There is the folded Egyptian
papyrus map in  a museum in Milan. But that is an exceptional relic preserved
in an exceptionally dry climate. Most paper, especially of a "trivial" kind
has a very brief existence.

2.  Leonardo is indeed quoted frequently as having been a "great
paperfolder". He
may have experimented with paper or paper-like materials during the course of
his experiments. But where is the evidence? Perhaps the main reference is in
Edward Kallop's introduction to the catalogue of the exhibition at the Cooper
Union Museum in New York in 1959, "Plane Geometry and Fancy Figures". This
was reprinted in Samuel Randlett's "Art of Origami" in 1961. Kallop states
that a number of Leonardo's geometric exercises are found in the Codex
Atlanticus and he says that one in particular is a near duplicate of the
typical folded aeroplane of today. Kallop gives references in his notes at
the end of his article. I have never been able to inspect the Codex
Atlanticus or a facsimile copy, but Roberto Morassi has done so and in
Roberto's opinion, none of Kallop's references relates to paper folding

A few months ago, the subject of Leonardo and paperfolding came up in
Origami-L and it is my intention to write a short article about it.
Unfortunately it has got behind in the queue. But one day I will get down to
it!

Now for other things:

3. There is no evidence whatsoever of any derivation of Spanish paperfolding
from the Moors. It would, indeed, seem reasonable to suppose that the Moors,
who introduced paperfolding into the Iberian Peninsula during their
occupation over many centuries, would have brought with them paperfolding as
well. They might well have done, but in the absence of even the slightest
piece of evidence, any suggestions about this are pure conjecture.

4.  Attention is often drawn to Moorish patterns as at the Alhambra Palace
and their superficial similarity to the crease patterns of Origami.
Unfortunately the resemblance is wholly superficial and a close comparison
shows that there is no discernible relationship.

5.  I owe a great deal to my friend Vicente Palacios of Spain for my
knowledge
of early European instances of paperfolding. The amount of research he has
done is amazing and he has turned up some very important information, which
has only been partly disclosed in his published books. More appears in
"Pajarita", the magazine of the Spanish Paperfolding Association. I must
stress, however, that I do not always agree with some of the interpretations
that Vicente puts upon the material he has discovered.

Vicente discounts any Moorish contribution to Spanish paperfolding. In his
opinion, Spanish paperfolding is indigenous to European Spain and owes its
devising to the Christian Spaniards. Indeed he claims that Spanish
paperfolding was developed before eastern paperfolding, a suggestion which I
find unlikely in view of the fact that true paper was introduced into Europe
much later than into eastern countries, including Japan. The evidence he has
adduced seems to me to indicate that Spanish folding was merely part of the
general European history of paperfolding. European folding may possibly have
originated in complete isolation from eastern folding (note that I cautiously
write "eastern folding" and not "Japanese folding"), but we cannot be sure
that a  knowledge of paperfolding techniques was not brought to Europe from
the east along the Silk route or along the sea routes or even (despite any
evidence) with the knowledge of paper-making, via the Arabs. Vicente Palacios
goes so far as to claim that paperfolding could have spread from the West to
the East, this seems to me to be very unlikely.

4.  It should be mentioned that much of the history of paperfolding may be
concealed in the folding of cloth. Pleating of cloth has been known form
Egyptian times and in the 16th Century there was a great vogue for wealthy
people to decorate their tables with elaborate constructions of pleated and
cross-pleated table napkins. We also have a few illustrations of individually
folded table napkins of the modern kind. There is an illustration of a water
bomb base, so we can be certain that paperfolding techniques, if only of an
elementary kind, were known in Europe in the 16th Century. One paperfolding,
the Hi Koi or Scarlet Carp ( Randlett's "Art of Origami", p.92) is an example
of a  folding that seems more appropriate to cloth than to paper.

5 .In the Middle Ages, from the fourth Century A.D. the Popes were attended
by elaborate ceremonial fans, usually made from ostrich feathers. They were
known as "flabelli" (plural). Palacios has discovered that in later centuries
and up to the 14th century some flabelli were made not from feathers, but
from folded parchment.

6.In his efforts to prove the antiquity of the Spanish "Pajarita" or folded
bird, Vicente Palacios has remarked on the similarity of the folded pattern
of the Pajarita to the pattern of the "Astrological Square". This was the
curious square design which was normally used for casting horoscopes of
people, places and events form the 12th Century until as late as the 19th
Century when it was discarded in favour of the circular diagrams which one
would think were much more appropriate from depicting the circular movement
of the heavens.

Th. astrological Square appears to have been invented by the Italian Gerardo
Cremone at Toledo in the 12th Century. There is no evidence that Gerardo did,
in fact, take his design from folded paper,  but paper had been introduced
into Toledo (which was an enormously important centre of learning of
Christians, Jews and Moslems) in1087, so it might have been possible. Nor is
there any evidence that horoscopes were ever folded up into pajarita or
multiform patterns.. So far we have no more than a conjecture. But there is a
further development which suggests that there may be a connection between the
astrological square and paperfolding. In parts of France, Southern Germany
and Austria, it became the custom for Certificates of Baptism to be written
on paper divided up in the pattern of the multiform or astrological square.
They were the folded into a double blintz, (which is a stage in folding a
pajarita or other multiform folds.) It is very tempting to suggest that
baptismal certificates originated as horoscopes, but became modified as the
Church distanced herself from astrology after the Reformation and
Counter-Reformation. We may hope that further evidence will come to light.

7.  Yet another of Vicente Palacios's discoveries is also conjectural, but
not
 without a quite strong element of persuasion:

John Holywood was an English mathematician and astronomer of the 13th
Century. He became a professor at the University of Paris and was known on
the Continent as Johannes de Sacrobosco. He is chiefly know for his work in
Latin called "Tractatu de Spaera Mundi" ("Treatise on the Sphere of the
World"). With the introduction of printing, printed versions of this book
were made and it ran into many editions. In particular, an edition was
published in Venice in 1490 and is illustrated with wood cuts. One of them
illustrating the mechanism of a solar eclipse has a picture of the world at
the centre - not like a NASA picture from space, but showing a town in the
background and the sea in front. And on the sea (purely as decoration) there
are two boats which have an uncanny resemblance to the simple paper boats
which ever child learns to fold from a paper hat. Of course, there is now way
of proving that the artist really had paper boats in mind, but from the curve
of the gunwales and the position of the elementary sails, it looks very
possible and surprisingly the majority of the paperfolding "experts" whom
Palacios has consulted are of the the opinion that they are paper boats. At
least it encourages us to continue looking for further evidence.

8.  In 1614, John Webster, an English playwright contemporary with
Shakespeare,
put on his play, "the Duchess of Malfi". (Malfi is the same as Amalfi, the
little town, once an independent republic, to the south of Naples and the
Sorrento peninsula.   Curiously enough, Amalfi was one of the places where
paper was first made in Italy. Hand-made paper is still manufactured in two
small factories in Amalfi). In his play Webster writes of the paper prisons
which boys use to imprison flies.

This surely can be a reference to none other than the waterbomb. This use of
the waterbomb for this purpose is known from modern China and even modern
Egypt. The fly is caught and put into the waterbomb, which amplifies the
buzzing of the tortured fly to the delight of the small boys. They do other
naughty things with water bombs, too!

9.  Around 1660, the diarist, Samuel Pepys mentions a basket made out of
paper.
 No more information! Infuriating!

10  About the same time John Selden compares religion to  a "jugglers paper":
"Now it is a horse, now it is a lantern, now it is a boar, now it is a man".
This would suggest "Troublewit" except that only the lantern would be
possible in troublewit, which could never depict human or animal form. We
have to admit that we really don't know what Selden was thinking about.

11.  Another contribution by Vicente Palacios: He has found a report that
in1757, a
boy, Guillermo Pen, of Spain was able to make for his friends "Kites, boats,
ships, birds and many other things, all out of paper". Palacios states that
this is the first concrete evidence directly about paperfolding that he has
found. Incidentally, Vicnete Palacios has adduced a great amount of evidence
about the word "Pajarita", but it relates to the use of the word for a small
bird or for a young woman,  or even the name of an operetta, and little
 early evidence, if any, applies to the paper bird of the name.

12.  There is a report about a blind man in Greenwich Park, outside London,
in about
1790 who was able to make many shapes our of paper. But were they cut or
folded or made by a combination of cutting and folding?  Some of these

13.  But we are now coming up to recent times. There seems no doubt that in
the
18th Centtury, paperfolding was generally widespread in Europe, though we
wish that more people had taken the time to write about it in clear terms!
Friedrich Froebel, who was born in 1782 was familiar with paper folding in
his childhood. It seems that a paper fold of a miner, similar to the "Suit of
Clothes" was a popular model in the mining districts of south Germany.

14.  Elsje van der Ploeg  has discovered a drawing in Holland dating from
1806
depicting a little boy sailing what we usually call the Chinese junk in a
teacup. This is the first dat4ed and unambiguous illustration of a paper fold
in Europe. Was it introduced by sailors from the East?

15.  In the 19th Century, records of paperfolding in Europe multiply. There
is a
collection of folded soldiers on horses in the German national Museum at
Neuremburg; Friedrich Froebel introduced paperfolding into his kindergartens
as part of his "learning through play" system. The around 1880, the Flapping
bird was introduced into Europe from the East. Japanese Jugglers are always
put forward as the people responsible for this, but we cannot be sure that
Chinese jugglers were not involved. The jumping frog came at the same time.

16.  Books began to be published, especially in connection with the Froebel
kindergarten. But there were also recreational books. One of the earliest in
English was "Cassell's Book of Indoor Amusements, Card Games and Fireside
Fun," originally published in 1881, which contained a few folds.

17.  Notwithstanding the difficulty of pinpointing the origin of the
pajarita, there
 does seem to have been a particularly strong tradition of paperfolding in
Spain at this time and there are reports that it was carried on in the
villages, where often someone could be found who was an expert.
Unfortunately, these village folders were not recorded and it seems sad that
their work has now been lost beyond recall. There is also reported to have
been paperfolding in Spanish prisons.

18.  Miguel Unamuno, the great Spanish poet and philosopher became
enthusiastic
about paperfolding and at first made a study of the Pajarita. He wrote a
satire
about it in 1902. The introduction of the flapping bird into Europe had, by
definition, brought with it the knowledge of the bird base and Unamuno
experimented with the bird base, especially with that form of it known as
"the sideways turn". He was, in fact the first to devise new models of
animals and birds using the bird base, anticipating the work of Akira
Yoshizaa of Spain by sojme thirty years. His experiments were later continued
in Argentina by Dr,.Vicente Solorzano, Ligia Montoya and the Italian,
Giordano Lareo.

19.  In the English-speaking world, stage magicians made a major contribution
to
paperfolding. Dollar bill folding became a vogue in North America just before
the Second World War, and conjurors like Martin Gardner made major
contributions to the general development of folding.

20.  In general, however the folding of northern Europe and north America was
well
behind that of Spain and South America. There was folding, but it was quite
elementary and largely centred around paper 'planes and the multiform folds.

21.  All this was to change in the 1950's largely because of three people:
Gershon
 Legman, Robert Harbin and Lillian Oppenheimer. But that is another story.

22.  Carlos Alberto Furuti's suppositions in his posting of 19th August are
pretty well
right, But they are a very skeletal outline and very much more detail and
clarification can be filled in. I notice that he lists several of Vicente
Palacios's books. They contain a vast amount of information, and I have
benefited from them immensely, but I urge that his books should be approached
critically. If this is done, they will yield immense results.

23.  The history of Japanese folding is something different again and I am
bound to say that popular ideas about it  are far from what really happened.
Japanese Origami has a history of two hundred years of creative folding by
adults running parallel with simple or children's folding. The bird and frog
bases were known many years before they came to the West. On the other hand,
cutting in Japanese origami was extensively practised. Yes, in some ways the
development of paperfolding in the west paralleled that of Japan,  but such a
statement is only very superficial. The real revolution in Japanese origami
came with Akira Yoshizawa. His work became generally known in Japan only in
1952.  It became known in the West only three years later in 1955. Akira
Yoshizawa is just as much part of the history of Western paperfolding as he
is of Japanese origami.

24.  Perhaps I may draw attention to my own writings on a wide variety of
aspects
of the history of paperfolding. I regret that few of them have been
published, but a search in the Origami-L Archives should reveal some of the
shorter postings I have sent to Origami-L on various aspects during the past
eighteen months. I also draw attention to my paper: "Some Observations on the
History of Paperfolding In Japan and the West". This was the paper I read at
the Otsu Meeting in Japan in 1994 and repeated at the Second Conference of
Origami in Education and Therapy (COET 95) in New York in June 1995. It has
been reprinted in the proceedings of this Conference, which have been
published by Origami USA.

25.  There remains much to do, but the general outline of the history of
paperfolding is beginning to take shape. I only hope that I shall be able to
write about it in greater detail and (which will be much more difficult) find
a publisher.

E&OE

David Lister.

Grimsby, England.

Dlister891@AOL.com





Date: Wed, 20 Aug 1997 10:47:53 -0300 (ADT)
From: Bernie Cosell <bernie@fantasyfarm.com>
Subject: Re: junk mail question

On 18 Aug 97 at 12:34, DORIGAMI@aol.com wrote:

> What are you origami guys doing to get rid of junk mail.  I am going crazy
> trying to get rid of it.  Any ideas?

Hard to say.  Different people react differently to junk mail [I just
kill it out of my mailbox unread when my mail displays the headers of
the day's email and so junk mail consumes maybe thirty seconds a day
to discard the stuff unread].

Some folk use filters on their mail agent.  In the PC/POP3 world,
Pegasus, Eudora and Agent [and others] all have fairly decent mail
filtering rules you can wire in.  For a while I used a set of
filters that discarded any mail not addressed to me or to one of the
mailing lists I was on, but that'd nail an occasional 'ok' message
[forwarded by a friend or the like] and so I stopped [and now I do
as above: just delete the stuff].

For the really irritated, there are fancy POP3 clients you can run
that will filter your email *on*the*server*.  Always seemed like
overkill to me, but the number of them popping up makes me think that
they're pretty popular.  What happens is that they run -before- you
run your normal mail program.  They connect to your server and sift
through the stuff on your server and they can delete it
-on-the-server- so you don't even have to bother downloading it [you
can also view headers on the server and specifically kill things].
Since they are designed for killing email, they generally have quite
fancy filtering machinery.  For Win95 folk, a trip to Tucows or
strouds will uncover at least a half-dozen or more of these types of
programs.  For Pegasus users, there are 'plugins' for Pegasus that'll
do this same thing.

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





Date: Wed, 20 Aug 1997 10:54:40 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Re: diagraming tessellations

Would someone please explain just exactly what is meant by tessalations.  I
think I know but just want to make sure I am thinking of the right models you
are talking about.  Are you talking about Escher like constructions or
patchwork designs and can someone describe them to me in detail.  Dorigami





Date: Wed, 20 Aug 1997 12:20:50 -0300 (ADT)
From: pat slider <slider@stonecutter.com>
Subject: Re: flowers & stems

A quick answer here with no titles....Sorry.

For origami flowers I really like Toshie Takahama's book. I believe
OUSA is still carrying it.

There are also also the Yoshide Momotani flower books. You can
get some of these from OUSA, some from fascinating-folds.com. I
believe there are four different books for each season, and then a
few titles like "Alpine Wildflowers" etc....

(And then there is the "Origami Flower Boards" at Sasuga. A beautiful
book, but perhaps not quite what you are looking for here.)

Lots of great flowers scattered about in other books, but expect you
can find a flower you like w/stem w/leaves in the Takahama or
Momotani books.

pat slider
slider@stonecutter.com





Date: Wed, 20 Aug 1997 12:37:13 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Liquid Crystal Paper

After my request for "specialty papers", I've done a little diggin' on some
of the responses.

I have a name, address and phone number for a ceramic shop that supposedly
carries the "ceramic impregnated paper" that can be folded and fired, but
haven't gotten a satisfactory response from them yet.

I did get hold of Edmund Scientific about the "Liquid Crystal Sheets" and
have received the information about it. Keep in mind, I am just passin' on
the information, not sayin' that I can afford it... This is from the fax I
got:

   TEMPERATURE SENSITIVE LIQUID CRYSTAL SHEETS FOR LABORATORY OR SCHOOL
PROJECTS
   12" x 12" liquid crystal mylar sheets (0.008" thick) can be cut to size
with
   scissors, 3 to 5 micron sized crystals dispersed within a polymer matrix
   exhibit total color spectrum with temperature change. Provide visual
testing
   and evaluation. Fast response time - excellent for low resolution thermal
   mapping. $20.50 Each
      T72,375 (68-77F)          T72,374 (77-86F)
      T72,373 (86-95F)          T72,372 (95-96.8F)
      T72,371 (95-104F)         T72,370 (104-113F)

   LIQUID CRYSTAL SHEET ASSORTMENT
   Assortment includes six 6" x 12" liquid crystal sheets, one in each of the
   temperature ranges listed above. Handy for research laboratories and
   industry. Each allows for a broad range of testing applications. Only
minimal
   experimentation is required to conduct tests and be able to interpret the
   results. Liquid Crystal Sheet Assortment: T61-161 $59.95

   To order Call 1-800-728-6999 or FAX 1-609-547-3292 (Edmund Scientific
   Company)

If anybody decides to give this a try or maybe wants to try to go in
together and split a pack or has a better idea, let me know. I may break
down and throw away the money just to see if it's worth it.

Thanks, Flu (Wayne Fluharty)
wflu@hotmail.com





Date: Wed, 20 Aug 1997 13:20:45 -0300 (ADT)
From: joel@exc.com (Dr. Joel M. Hoffman)
Subject: flowers & stems

>For origami flowers I really like Toshie Takahama's book. I believe
>OUSA is still carrying it.

Which one?  BTW, looking through Amazon (again, today) I see that
Takahama has a new book coming out.  Anyone know anything about it?

(For people who don't know, Amazon is http://www.amazon.com/ --- a
terrific on-line book store.)

-Joel
(joel@exc.com)





Date: Wed, 20 Aug 1997 13:24:27 -0300 (ADT)
From: Jeannine Mosely <j9@concentra.com>
Subject: Re: Liquid Crystal Paper

Wayne kindly provided us with information on temperature sensitive
mylar.  If the idea is to make origami that changes colors in your
hands, I wouldn't recommend buying the assortment pack.  Only items
T72,373, T72,371 and T72,372 are likely to prove interesting.  The
others have ranges that are too high or too low.  Ordering those 3
sheets will cost $61.50 and provide the same 3 square feet of mylar
that the assortment gives for 59.95.  You can still split an order
with a friend, by cutting the sheets into smaller squares.

        -- Jeannine Mosely

      TEMPERATURE SENSITIVE LIQUID CRYSTAL SHEETS FOR LABORATORY OR SCHOOL
   PROJECTS
      12" x 12" liquid crystal mylar sheets (0.008" thick) can be cut to size
   with
      scissors, 3 to 5 micron sized crystals dispersed within a polymer matrix
      exhibit total color spectrum with temperature change. Provide visual
   testing
      and evaluation. Fast response time - excellent for low resolution thermal
      mapping. $20.50 Each
         T72,375 (68-77=B0F)          T72,374 (77-86=B0F)
         T72,373 (86-95=B0F)          T72,372 (95-96.8=B0F)
         T72,371 (95-104=B0F)         T72,370 (104-113=B0F)

      LIQUID CRYSTAL SHEET ASSORTMENT
      Assortment includes six 6" x 12" liquid crystal sheets, one in each of=
    the
      temperature ranges listed above. Handy for research laboratories and
      industry. Each allows for a broad range of testing applications. Only
   minimal
      experimentation is required to conduct tests and be able to interpret =
   the
      results. Liquid Crystal Sheet Assortment: T61-161 $59.95

      To order Call 1-800-728-6999 or FAX 1-609-547-3292 (Edmund Scientific
      Company)





Date: Wed, 20 Aug 1997 13:34:54 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Re: Liquid Crystal Paper

At 12:03 PM 8/20/97 -0400, you wrote:
>I'd be interested in this, though with 6x12 inch sheets that doesn't make
>for big squares unless you tape some sheets together.  But still, the
>assortment seems reasonable, though it isn't any cheaper.  I'd rather get
>the larger sheets (since there is no savings in getting the assortment).
>Where are you located?  I am in Pittsburgh PA.

The only problem with the full sheets is that I don't know which
temperature range will work best. At least with assortment, They could all
be tried.

>Where are you located?  I am in Pittsburgh PA.

Little Rock, AR

>I'm not in a hurry on this and can't spend the money until next month...

Ditto...

Flu, Wayne Fluharty
wflu@hotmail.com

"Imagination is the foundation of reality" - Gallagher





Date: Wed, 20 Aug 1997 13:38:50 -0300 (ADT)
From: Janell Jarman <jarman@digitalpla.net>
Subject: Re: Liquid Crystal Paper

Wayne Fluharty wrote:

> I did get hold of Edmund Scientific about the "Liquid Crystal Sheets" and
> have received the information about it.

Yes, but will it hold a crease???  Or would you have to back it with
paper?





Date: Wed, 20 Aug 1997 13:57:39 -0300 (ADT)
From: Janell Jarman <jarman@digitalpla.net>
Subject: Re: Liquid Crystal Paper

Jeannine Mosely wrote:
>
> Wayne kindly provided us with information on temperature sensitive
> mylar.  If the idea is to make origami that changes colors in your
> hands, I wouldn't recommend buying the assortment pack.  Only items
> T72,373, T72,371 and T72,372 are likely to prove interesting.  The
> others have ranges that are too high or too low.

Are you sure about that?  I had thought that T72,374 (77-86=B0F) would
be ideal since external body temperature is somewhat lower than internal
and this is also above (my) normal room temp range.  Am I assuming
incorrectly that these are Fahrenheit temps?  What is BOF?  Sorry, I'm
no scientist!





Date: Wed, 20 Aug 1997 14:17:34 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Re: Liquid Crystal Paper

>Are you sure about that?  I had thought that T72,374 (77-86=B0F) would
>be ideal since external body temperature is somewhat lower than
internal
>and this is also above (my) normal room temp range.  Am I assuming
>incorrectly that these are Fahrenheit temps?  What is BOF?  Sorry, I'm
>no scientist!

In my original post, I put the ASCII char 268 which is the degree sign
for Fahrenheit temp. Somewhere, one of the mail packages converted it to
"=BOF" so these numbers are Fahrenheit temps.

This is also why I am thinking of ordering the variety packs to test the
different tempatures, but I can't do $60 solo...

Flu (Wayne Fluharty)
wflu@hotmail.com

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com





Date: Wed, 20 Aug 1997 14:45:26 -0300 (ADT)
From: rick@tridelta.com (Rick Bissell)
Subject: Liquid Crystal PAINT

I see that Edmund Scientific also sells "Liquid Crystal Paints" in the same
temperature ranges.  The description states they are water soluble paints
that may be applied by an air brush or small hand brush.  The colors change
from reddish-brown to green to blue over the indicated range.  The color
change process is reversible.

They sell this in 25 Gram bottles for $35.95 each and one bottle covers from
2 - 5 sq. feet.  Possibly a better value if it would work!

   -- Rick





Date: Wed, 20 Aug 1997 14:52:14 -0300 (ADT)
From: pat slider <slider@stonecutter.com>
Subject: Re: flowers & stems

> Date:          Wed, 20 Aug 1997 13:20:51 -0300 (ADT)
> Reply-to:      origami-l@nstn.ca
> From:          joel@exc.com (Dr. Joel M. Hoffman)
> To:            Multiple recipients of list <origami-l@nstn.ca>
> Subject:       flowers & stems

> >For origami flowers I really like Toshie Takahama's book. I believe
> >OUSA is still carrying it.
>
> Which one?  BTW, looking through Amazon (again, today) I see that
> Takahama has a new book coming out.  Anyone know anything about it?

This one:

Takahama/ORIGAMI FLOWERS: In Japanese. 28 lovely flower models, from
azalea to wisteria; diagrams are clear and easy to follow for
experienced folders. ISBN 4-638-05031-X. 142 pp. PB. (I-C). #B20-160.
$15.00

Looked it up at ousa's site (www.origami-use.org).

pat slider
slider@stonecutter.com





Date: Wed, 20 Aug 1997 14:56:02 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject:

I apologize to the group for creatin' such an interest in the "liquid
crystal paper". I made a phone call to Edmund Scientific directly and
grilled them about this product. The sheet DOES NOT hold a crease. This is
more of a plastic than paper. I apologize again for creatin' such a stir,
but believe me, I was as excited as anybody.

Now about this liquid crystal paint...

Flu (Wayne Fluharty)
wflu@hotmail.com

"Imagination is the foundation of reality" - Gallagher





Date: Wed, 20 Aug 1997 16:15:02 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: (NO:) Re: junk mail question

DORIGAMI@aol.com wrote:
> What are you origami guys doing to get rid of junk mail.  I am going crazy
> trying to get rid of it.  Any ideas? Dorigami

Whoah! That's a VERY broad subject. My favourite answer was
"Bomb them back to the C64 !", but in these peaceful times this
just isn't P.C. anymore ;-(.
Nevertheless, there is a lot that can be done. One site that
has a lot of interesting advice is http://spam.abuse.net/spam
A whole site dedicated to fighting junk-e-mail aka spam!

Matthias

P.S.
The simple solution is to keep your private e-mail
address private...





Date: Wed, 20 Aug 1997 16:31:23 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re:

Wayne Fluharty wrote:
> I apologize to the group for creatin' such an interest in the "liquid
> crystal paper". I made a phone call to Edmund Scientific directly and
> grilled them about this product. The sheet DOES NOT hold a crease.

So what, the backcoating experts will say. I'm not one of
them, but I suppose with some decent aluminum foil ANYTHING
would hold a crease. But... will a crease damage the liquid
crystal layer?

Matthias, with INcreased interest...





Date: Wed, 20 Aug 1997 17:07:02 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Re:

At 04:31 PM 8/20/97 -0300, you wrote:
>Wayne Fluharty wrote:
>> I apologize to the group for creatin' such an interest in the "liquid
>> crystal paper". I made a phone call to Edmund Scientific directly and
>> grilled them about this product. The sheet DOES NOT hold a crease.
>
>So what, the backcoating experts will say. I'm not one of
>them, but I suppose with some decent aluminum foil ANYTHING
>would hold a crease. But... will a crease damage the liquid
>crystal layer?
>
>
>
>Matthias, with INcreased interest...
>
>

My understandin' is that that stuff WOULD NOT BEND. It's comparable to a
thin sheet of plastic. Makes it kinda hard to be able to crease it at all...

Flu, Wayne Fluharty
wflu@hotmail.com





Date: Wed, 20 Aug 1997 17:29:17 -0300 (ADT)
From: Jose Tomas Buitrago <buitrago@maxwell.univalle.edu.co>
Subject: Photos of the convention 97

Hi!
Anyone has a Web page with photos of the Origami Usa Convention 97 ?

Jose Tomas Buitrago





Date: Wed, 20 Aug 1997 17:33:40 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re:

Wayne Fluharty wrote:
> My understandin' is that that stuff WOULD NOT BEND. It's comparable to a
> thin sheet of plastic. Makes it kinda hard to be able to crease it at all...

OHO! That complicates the matter. How 'bout "Hotfolding"
(as in Wetfolding, but with heating the plastic)?
But that would probably hurt the layer, and it's overly
complicated too (just imagine a simple crane...).
Maybe the paint is the better solution. I'd LOVE to
hear from anybody who tries it out!

Matthias





Date: Wed, 20 Aug 1997 18:31:11 -0300 (ADT)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: diagraming tessellations

Helena wrote:

+crease pattern is probably pretty much all you need anyway.  But I don't
+think folding from a crease pattern is a very traditional way to do things,
+and I think folding a crane say, would be far harder from a crease pattern
+than from standard instructions.

Don't be so sure...  I prefer pre-creasing and then collapsing bird
bases over the "traditional" methods.  The precreasing method gives you
much greater control over any "fudge factors" that a model may require
(Neale's Dragon, for instance).

On 6/3/97, Tom Hull claimed that Maekawa's Demon (from the now out of print
Viva! Origami) is easier to do by pre-creasing:

    One clear way of making sure you get the shoulder horns, regardless
    of which diagrams you have, is to use the crease pattern instead!
    Even in the Viva diagrams, if you, say, use the first steps of the
    model to get the initial proportions, and then scrap the diagrams
    and just use the lovely crease pattern to make the necessary
    creases, then carefully collapse the whole thing, you'll be sure to
    get the extra flaps you need for the shoulder horns.  In fact, the
    regions of paper highlighted in *pink* on the crease pattern
    indicate where the shoulder horns come from, and I'd be willing to
    bet money that the Japanese text explains that these extra creases
    will have to be made if you want shoulder horns.

-Daddy-o "Precreasing isn't always harder!" D'gou
(Submitted on 8/20/97 at 17:27 Eastern US Time)





Date: Wed, 20 Aug 1997 20:08:32 -0300 (ADT)
From: Lisa Hodsdon <Lisa_Hodsdon@hmco.com>
Subject: crease patterns [Re: diagraming tessellations]

Daddy-o D'gou wrote:
>Helena wrote:

>+crease pattern is probably pretty much all you need anyway.  But I don't
>+think folding from a crease pattern is a very traditional way to do
things,
>+and I think folding a crane say, would be far harder from a crease
pattern
>+than from standard instructions.

>Don't be so sure...  I prefer pre-creasing and then collapsing bird bases
>over the "traditional" methods.  The precreasing method gives you much
>greater control over any "fudge factors" that a model may require (Neale's

>Dragon, for instance).

Though I was doubtful after the first 15 cranes, folding crane bases by
precreasing convinced me that the *traditional* way isn't best. (Though
after 40 more, I started doing the petal folds without precreasing at all.
Much quicker if you're making small cranes. Don't think I would do it if I
was
making large dragons.)

But, what I wanted to say is this: while folding from crease patterns may
not be "traditional" it is not unheard of. Beynon's booklets (BOS. I'm not
of the names;  _More-igami_ and _Ori 3_ if I recall correctly) give
crease patterns and very few diagrams "mid fold." I suspect that folders
of certain types of models (tesselations & modulars, for example) pretty
much expect not to get a diagram of each step, because, like you say, it
takes dozens of diagrams for even a relatively easy tesselation & showing
the 3-D modular being put together would be extremely difficult and not
terribly helpful.

Does Tom Hull speak for the majority in preferring to fold Maekawa's demon
from the crease pattern? (If that's what he really meant?) I doubt it. But
folding from crease patterns can be a great puzzle.

Lisa (crane-free & no longer unwillingly postponed)
Lisa_Hodsdon@hmco.com





Date: Wed, 20 Aug 1997 21:45:58 -0300 (ADT)
From: bartolon@execpc.com (Michel Bartolone)
Subject: CFV: rec.arts.origami has been posted

To all interested parties. Please be aware that an official usenet
CFV, or "Call For Votes" pertaining to the formation or a new usenet
newsgroup, to be called rec.arts.origami, has been posted to
news.groups, news.announce.newgroups, and alt.arts.origami.

Please take the time to register your vote (via e-mail).

Official voting procedures are included in the Call For Votes.
I am not allowed to e-mail the Call For Votes, however, the
entire CFV document is available in the above mentioned
usenet news groups, via WWW at www.dejanews.com
or via e-mail from the official vote taker, Rebecca McQuitty
mcq@wco.com.

Questions regarding the content of the proposed newsgroup should be
directed to me, Michel Bartolone, bartolon@execpc.com.

Questions about the voting process should be directed to the vote
taker.

Please forward this pointer to any one else that you feel might be
interested in a newsgroup related to origami.

Thank you
Michel Bartolone





Date: Wed, 20 Aug 1997 22:46:06 -0300 (ADT)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: crease patterns [Re: diagraming tessellations]

Lisa_Hodsdon wrote:
+Daddy-o D'gou wrote:
+>Helena wrote:
+>+crease pattern is probably pretty much all you need anyway.  But I
+>+don't think folding from a crease pattern is a very traditional way to
+>+do things, and I think folding a crane say, would be far harder from a
+>+crease pattern than from standard instructions.
+>Don't be so sure...  I prefer pre-creasing and then collapsing bird
+>bases over the "traditional" methods.  The precreasing method gives you
+>much greater control over any "fudge factors" that a model may require
+>(Neale's Dragon, for instance).
+Though I was doubtful after the first 15 cranes, folding crane bases by
+precreasing convinced me that the *traditional* way isn't best. (Though
+after 40 more, I started doing the petal folds without precreasing at all.
+Much quicker if you're making small cranes. Don't think I would do it if I
+was making large dragons.)

That is a good point, so let me make it more explicitly, if I may. ;-)
If one is used to folding bird bases the "traditional" way, switching to
precreasing will at first seem harder, not easier.  But once you get over the
"differentness" factor so that the precreasing becomes familiar, I do think it
is both easier and more accurate.  I know a few folders who make petal folds
"all at once."  That is not something I usually do unless I have a specific
landmark (in the case of the bird base for example).

+But, what I wanted to say is this: while folding from crease patterns may
+not be "traditional" it is not unheard of. Beynon's booklets (BOS. I'm not
+of the names;  _More-igami_ and _Ori 3_ if I recall correctly) give
+crease patterns and very few diagrams "mid fold."

He actually has at least four booklets via BOS, though the names of the other
two escape me at the moment.  In any event, you are right, his diagrams are
often only one page (of A4, or A5, I can't recall which, roughly the size of
half of an 8.5x11 sheet).  They usually start with an involved crease pattern
as step one and don't often show any steps "mid way" as you say.  In fact it
was one of Beynon's models' diagrams that got me started on the precreasing
method.  I no longer remember which model it was, but I do recall that the
initial crease pattern was a bird base plus a few more creases.  As I was
making it, it suddenly dawned on me that I was precreasing an entire bird base
and then collapsing (my revelation ignored the extra creases to cut to the
heart of itself, so to speak).

At first I thought precreasing a bird base was extremely tedious, but when I
figured out that it was more accurate, and when I had done several that way,
the precreeasing became rythmicly pleasing and subjectively (if not
objectively, though I haven't measured it) quicker.

I'll stop rambling now.  Try it.  Try it one or two dozen times, then see if
isn't a viable and maybe even better way, of folding a bird base.

-D'gou
(Submitted on 8/20/97 at 21:44 Eastern US Time)





Date: Thu, 21 Aug 1997 01:01:28 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re: flowers

>Do you mean from one piece of paper, or from a square?  :-)  There is a
>difference you know.  I don't know of any models that have both the flower
>and stem from one uncut sheet.

You might check out Fred Rohm's "Four Roses", which is four flowers with
stems in a vase, from a single uncut square. It's diagrammed in Harbin's
Origami 4.

Robert J. Lang
rjlang@aol.com





Date: Thu, 21 Aug 1997 01:56:28 -0300 (ADT)
From: Joyce Owen <joyceowen@hotmail.com>
Subject: Re: flowers

I am also looking for flowers to make a cemterpiece (for an otherwise
boring table a open house.
mother of the folder
joyce

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com





Date: Thu, 21 Aug 1997 02:25:36 -0300 (ADT)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: News from Momotani

Hi all !

Yoshihide and Sumiko Momotani have informed me that they are currently
working on a series of ten small books illustrating popular children tales
with photos of origami scenes, and with instructions for folding all the
models. Five have already been released (Little Red Riding Hood, Puss in
Bots, Snow White, The Musicians of Bremen, The Elves and a Shoemaker). The
Momotani's will attend the AEP Convention in Zaragoza (13-15 September).

Roberto

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





Date: Thu, 21 Aug 1997 02:26:47 -0300 (ADT)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: How to retrieve messages

Valerie,

At 16.33 19/8/1997 -0300, you wrote:
>Yes, and maybe we'll get the list/site mangager's
>attention if their FTP server has to start
>working overtime...

I'm not sure people would be so eager to download some Mbytes of
chatters.... ;-)
I think this method should rather be intended as an emergency resort to
retrieve recently lost messages.

Roberto

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





Date: Thu, 21 Aug 1997 02:27:59 -0300 (ADT)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: ILP, who is this ?

Hi all !

I've requested details about the "interactive" List Processor, which would
allow "live" interaction with the mailserver, using the e-mail address as
login and the password received at the moment of subscribing the list. It
seems that a program named "ilp" is needed to connect, but this is Unix
stuff and I don't know where to find it: does anybody know if there is a
Windows-based version ?
I've tried a normal Telnet connection to nstn.ca (port 23), but obviously
the login and password do not work !

Cheers,
Roberto

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





Date: Thu, 21 Aug 1997 03:09:13 -0300 (ADT)
From: Philip Woo <philwoo@erols.com>
Subject: Re: flowers

Jun Maekawa's book"Viva Origami" This Book has the famous Demon model on
the cover.On page 20, there is a five petal flower, complete with stem,
and two leaves. My absolute favorite flower, even above the
Kawasaki rose, this is very romantic origami.You may e-mail me
personally,if you cant find a copy of this already rare book.





Date: Thu, 21 Aug 1997 03:27:59 -0300 (ADT)
From: Kenny1414@aol.com
Subject: Re: flowers

Also, I remember a Rose with a stem and 3 leaves,
from a bird base, in one of Harbin's little out-of-print
paperbacks.

Sorry, I don't remember which of the four books.

Kenneth Kawamura   kenny1414@aol.com





Date: Thu, 21 Aug 1997 03:34:33 -0300 (ADT)
From: Philip Woo <philwoo@erols.com>
Subject: Re: No Sex?

Yes , I have a lot of things to share. Most of those books are out of
print.Origami USA has a lending library for members, but I heave never
visited.You may e-mailme personally for whatever information you need

                                         Philip Woo





Date: Thu, 21 Aug 1997 04:08:41 -0300 (ADT)
From: Perry Bailey <pbailey@mtayr.heartland.net>
Subject: Re: No Sex?

This is a multi-part message in MIME format.

--------------7DF43B6F546F

Philip Woo wrote:
>
> Yes , I have a lot of things to share. Most of those books are out of
> print.Origami USA has a lending library for members, but I heave never
> visited.You may e-mailme personally for whatever information you need
>
>                                          Philip Woo
I hope this was meant as an open offer!  I just sent you one e-mail, as
this one was farther down the list I didn't see it first.  I too am more
than happy to share with others anything I have.  One warning, as my
scanner died and I can come up with funds for a new one it means I have
to drive about 60 miles to get to a photocopier I can afford to Use(the
only one in town now is 20 cents per), so it may take a while for me to
send copies, find attatched a list of books I have, either in part or
complete, most are regular books, a few of the rare title are
photocopies.  so if you see an (I) by a book that means I don't have it
complete.  I also have four other books of things from heaven knows
where collected over the last 30 years.  So if it is a specific model
you want and I don't seem to have the book, ask anway i still might have
it.  herre is my list.
Perry
--
>From pbailey@mtayr.heartland.net

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

--------------7DF43B6F546F

Here Is my book list.  Up front I should note that I have exceprts from a=
 great many books not listed here.
So if you need a specific model, go ahead and ask me as I may have a copy=
 of it in one of my copy collections.

My Origami Birds
My Origami Animals and Fishes
My Origami Flowers (copy)  [Origional was destroyed by water damage]
all three were by Crown publishers, no Author listed.

Lifestyle Origami
Mythical Beings
by Jay Ansil

The Great Origami Book
By  Z=FClal Ayt=FCre-Scheele

The New Origami  (I)
Biddle

Sunny Origami
by Fuxuda

Origami the Art of Paperfolding
New adventures in Origami
Origami Step by Step
Paper Magic
By Robert Harbin

The complete Origami Course
By Paul Jackson

Origami made Easy
Origami Omnibus
Origami for the Connoisseur (I)
by Kunihiko Kasahara

Complete Origami
Origami Paperfolding for Fun
Eric Kenneway

Origami Treasure Chest
By Keji Kitamura

Decorate with Origami
by Irmgard Kneisler

the Complete book of Origami
Origami Zoo
Origami in Action
By Robert Lang

Folding Paper masks
by  Sherry Lewis

Japans Creative Origami
Colorful Origami (japanese)
by Toyoaki Kawai

Trick Origami  (I)
by Yoshide Momotani

Origami for the Enthusiast
Animal origami for the enthusiast
Birds in Origami
Easy Origami
Origami Sea life (w/Lang)  =

by  John Montroll

Krazy Origami (I scanned in and repaired and I could of the origional and=
 have it on disk and print out)
By  J.J. Cassalonga   (I still have the origional too)

The Art of Origami
The Best of Origami  (I)
by Samuel Randlett

Paper folding for Beginners
by Rigby and Murray

Fun with paperfolding #5
by Mrs. Atsuko Nakata

The Usborn Book of Origami
by Needham and Goodall

Origami book #2
by Florence Sakada

The ABC's of Origami
by Claus Sarasas

50 Nifty Origami Crafts
by  Andrea Urton

Modern Origami
By James Sakoda (1st Edtion!)

Living Origami
by Toshie Takahama

Action Toys  (I)
Yamaguchi

The Great international Paper Airplane book
by Mander, Dippel, and Gossage

Paper Airplanes to make and Fly
by Jim Razzi

OUSA Convention 88 book
OUSA Convention 97 book

Everything else I could lay hands on long enough to copy or download
and My own work.

The list of complete books may not be huge, but the list of ones I copied=
 from etc.  is too long to print or remember.

Perry Bailey

--------------7DF43B6F546F--





Date: Thu, 21 Aug 1997 06:25:42 -0300 (ADT)
From: DLister891@aol.com
Subject: Re: Diagramming Tessellations

Dorigami asks (20/21 August 97)  just exactly what is meant by
"tessellations" and asks if what is meant is Escher-like constructions.

Escher-like constructions have, indeed, been created in Origami, especially
by Mick Guy in the 1970s. Escher got his inspiration about tiling patterns
from the Moorish tiling patterns in the Alhambra Palace in Grenada in
Southern Spain. But tiling patterns made from sepate tiles are not what is
meant in the present context of Shuzo Fujimoto, Chris Palmer, Tom Hull, Alex
Bateman, Paulo Taborda Barreto et al.. It is necessary to distinguish between
 first, actual physical tiling laid on a floor or wall and second, the total
abstract  tiling PATTERN which can be analysed mathematically. A tiling
pattern acts as a blueprint for laying out tiles on the floor. But in this
context, the tiling pattern is studied in its own right by mathematicians and
also used itself as a basis of folding by the Origami Tessallators.

To enlarge on this: in the Escher kind of tessellation, many separate
paperfolds are made, like pottery tiles, (but usually in more complex shapes:
sometimes abstract, sometimes in the shape of animals or fishes) and they are
then fitted together physically to make a repetative pattern, just as you
would lay tiles of one shape or different shapes on a floor.

In the case of Chris Palmer et al. the word "tessellation" does not  relate
PATTERN  in the paper which resembles possibly a simple, but more often, a
more elaborate tiling pattern. Quite apart from their interest to
paperfolders, tiling patterns today form a major branch of recreational
mathematics and, indeed, of more serious mathematics concerned with such
subjects as that of symmetry, which pervades everything.. Such tiling
patterns are usually regular, in which the same pattern repeats itself a
periodical intervals over the whole pattern and indeed to infinity if the
paper had no edges and could be extended without limit. But in some instances
of tiling patterns, such as those discovered by Roger Penrose, the patterns
are irregular and do not repeat periodically, (I may add that I, personally,
have yet to see an irregular tessellation pattern in Origami. I doubt if it's
possible, but I certainly wouldn't be dogmatic about it. Perhaps it's a
challenge to the experts).

In this kind of paperfolded tessellation, the crease pattern of maountain and
valley folds may first be drawn with a pencil on the paper. Or a network of
parallel creases in several directions may made as preliminary guidelines.
Then mountain and valley folds are made along the lines in the particular
order required by the pattern of the tessellation being folded. Some people
prefer to make their creases without preliminary drawn lines, but, except in
very simple instances, this is much more difficult. Again, some people, like
Paulo Taborda Barreto have discovered how to create their crease patterns by
computer.

Having made creases across the whole of the sheet of paper, the pattern is
then "collapsed", by folding in the respective valley and mountain crease,
doubling the paper, making twist folds and generally cajoling the paper until
it is reduced to a flat pattern. I think that "cajoling" is an apt word in
this context! Nothing happens quickly. It is usually necessary to work
inwards from the edges of the paper, but in my experience, one does whatever
seems easiest and most appropriate in the circumstances. I can't pretend that
I have ever found it easy, but I expect that practice makes perfect and I
have never had the time to practise. Chris Palmer has certainly mastered the
art.

Having managed to "collapse" the paper, you will have created your finished
work of art. It will be seen that the creases you have made form a pattern of
a NEW or secondary tessellation, a sort of bas relief which arises out of,
but is different, often unexpectedly different, from the original pattern
drawn on the paper before it was creased. Some folded tessellations are three
dimensional, with such phenomena  as boxes or mountains rising above the
tessellated plain at regular intervals.

Then, if you have used semi-transparent paper, you can hold your creased
pattern up to the light and you will see yet another hidden pattern painted
in light and shade accoring to where the paper is doubled or trebled in
thickness.

For more about tessellations, please see my posting to Origami-L dated 16th
July, 97, where I give more general information and also say something about
Maurits Escher and also Mick Guy's Escher-like tessellations. I added a
little more, (mainly about Paolo Taborda Bareto) in my posting dated 19th
July.

Tessellations are a long way from mainstream paperfolding, but they are a
glorious aspect of the wonderfully diverse kaleidoscope that is Origami.

David Lister.

Grimsby, England.

DLister891@AOL.com





Date: Thu, 21 Aug 1997 09:05:55 -0300 (ADT)
From: joel@exc.com (Dr. Joel M. Hoffman)
Subject: Lending library?

>Yes , I have a lot of things to share. Most of those books are out of
>print.Origami USA has a lending library for members, but I heave never
>visited.You may e-mailme personally for whatever information you need

Where is this lending library located?

-Joel
(joel@exc.com)





Date: Thu, 21 Aug 1997 09:53:58 -0300 (ADT)
From: "Nancy B. McNitt" <nbm@mindspring.com>
Subject: Re: diagraming tessellations

This book also has a daffodil with leaves from one piece of square paper for
those flower lovers.
As for the demon, I always wondered what happened to the horns when I folded it.

Glenn Mcnitt
At 06:31 PM 8/20/97 -0300, you wrote:
>Helena wrote:
>
>+crease pattern is probably pretty much all you need anyway.  But I don't
>+think folding from a crease pattern is a very traditional way to do things,
>+and I think folding a crane say, would be far harder from a crease pattern
>+than from standard instructions.
>
>Don't be so sure...  I prefer pre-creasing and then collapsing bird
>bases over the "traditional" methods.  The precreasing method gives you
>much greater control over any "fudge factors" that a model may require
>(Neale's Dragon, for instance).
>
>On 6/3/97, Tom Hull claimed that Maekawa's Demon (from the now out of print
>Viva! Origami) is easier to do by pre-creasing:
>
>    One clear way of making sure you get the shoulder horns, regardless
>    of which diagrams you have, is to use the crease pattern instead!
>    Even in the Viva diagrams, if you, say, use the first steps of the
>    model to get the initial proportions, and then scrap the diagrams
>    and just use the lovely crease pattern to make the necessary
>    creases, then carefully collapse the whole thing, you'll be sure to
>    get the extra flaps you need for the shoulder horns.  In fact, the
>    regions of paper highlighted in *pink* on the crease pattern
>    indicate where the shoulder horns come from, and I'd be willing to
>    bet money that the Japanese text explains that these extra creases
>    will have to be made if you want shoulder horns.
>
>
>-Daddy-o "Precreasing isn't always harder!" D'gou
>(Submitted on 8/20/97 at 17:27 Eastern US Time)





Date: Thu, 21 Aug 1997 10:41:40 -0300 (ADT)
From: rick@tridelta.com (Rick Bissell)
Subject: Re: Lending library?

Joel wrote:

>Where is this lending library located?

It's at Origami USA:    c/o Lending Library
                        15 West 77th Street NY, NY 10024-5192
                        212-769-5635

You will have to call or write to obtain a listing of available books.
They will loan you one book for a 3 week period.  You must be a member of
OUSA and they will not accept the order if your membership will expire
during the loan period, or 2 weeks before and after the Convention and
Christmas holidays.

You might be able to do this via email now...I'm not sure.

They have over a hundred titles available and the selection is quite good.

   -- Rick





Date: Thu, 21 Aug 1997 11:00:40 -0300 (ADT)
From: jdharris@post.cis.smu.edu (Jerry D. Harris)
Subject: Re: flowers

>Also, I remember a Rose with a stem and 3 leaves,
>from a bird base, in one of Harbin's little out-of-print
>paperbacks.
>
>Sorry, I don't remember which of the four books.

        It's Martin Wall's "Rose," and it's in the same _Origami 4_ as Fred
Rohm's "Four Roses" model that Robert mentioned.

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

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
