




Date: Sun, 05 Oct 1997 20:16:04 -0300 (ADT)
From: Jeff Kerwood <jkerwood@usaor.net>
Subject: Re: Summarys - Summaries - Sumriz?

DLister891@aol.com wrote:
>
> I shouild love to have expertly compiled summaries for every subject,
> carefully edited and presented in an attractive and easily digestible way.
> The trouble is that someone has to do the summarising and willing horses
> among a group of volunteers, especially such a nebulous one as the
> subscribers to Origami-L are not to be found in every corner of the Internet.
>

Thanks for your comments, and an eye into how you keep track of it all.
What I really had in mind though, was not looking for volunteers to
create professional quality summaries. But rather, to suggest that the
summarizer would be the originator of the topic. Maybe they can't do a
professional job but can surely put together the majorist points.

BYE :) Jeff Kerwood  jkerwood@usaor.net





Date: Mon, 06 Oct 1997 00:01:05 -0300 (ADT)
From: Chinh Nguyen <chinhsta@gwis2.circ.gwu.edu>
Subject: Re: "Bizarre" rectangles for instrumentalists

On Sun, 5 Oct 1997 Rjlang@aol.com wrote:

> 3. Cut your rectangle (20 cm x 28.28 cm).

Why didn't you just say "my" musicians :)?  Anyway, cutting a 28.28 side
*exactly* seems a bit tricky--how much leeway is there?  How can one
measure 28.28?  Is it okay to do 28.3, for instance?





Date: Mon, 06 Oct 1997 08:05:48 -0300 (ADT)
From: DLister891@aol.com
Subject: TheBOS Convention at York, September, 1997

THE  BOS  CONVENTION  AT  YORK,  SEPTEMBER,  1997.

I have been thinking of writing an account of the Convention held at York
from 18th    to 21st September 1997 to celebrate the foundation of the
British Origami Society thirty years ago. I have, however, been busy, as
usual,l extricating myself from the a considerable backlog of other matters
and I rather hoped that someone, preferably form another country would do the
job. This, however, hasn't happened, so at the risk of overloading your
mailboxes, here is my report.

Visitors came to York from all over the world: came from the United States,
Canada, France, Germany, Holland, Belgium, Italy, Sweden, Switzerland,
Hungary, Russia and Japan.  The official guests were Akira Yoshizawa, Alfredo
Giunta and Michael LaFosse, but many other distinguished folders were
present. We were particularly pleased to welcome Jan polish, representing
Origami USA. There were large contingents from North America, Holland and
Germany and I was glad to meet again my friends from origami Deutschland,
Paulo Mulatinho, Silke Schroeder,    and heints and Diane Strobl. Subscribers
to Origami-L seemed to be everywhere and Penny Groom had provided stickers of
the Origami-L E-mail address for us to wear on our name badges. I may also
mention that  that prominent subscriber, Joseph Wong, well known to Origami-L
and to whom we all owe so much was present.

As usual at a BOS Convention, it was a residential meeting, which took place
at the University College of York and Ripon St. John. It happened to be my
daughter Frances' college, although she was resident at the Ripon arm of the
college, thirty miles away. Holding the convention at York undoubtedly
attracted many people. I am myself very familiar with York, having visited
frequently it for some sixty years. Trying to see it through the eyes of our
overseas visitors made me see what a very interesting and attractive city
York is, with its mediaeval streets and largely intact city walls and with
its many ancient churches crowned by the splendid gothic cathedral, known as
The Minster.

On the Friday before the convention officially started, there was a
light-hearted paper 'plane flying session, organised by our present
President, Mick Guy, which took place in an aircraft hangar on an old wartime
airfield near York.  It was intended as an attempt to break the distance and
endurance records for paper 'planes of the Guinness Book of Records and an
officially appointed representative of Guinness attended, who supervised the
measurement of distances and watched to see that the rules were complied
with. The hangar had been emptied of the historic aircraft that are normally
housed there, and it looked huge, but it seems it was still not high enough
for serious record breaking because the secret is to hurl the plane as high
as possible. (The last record breaking attempt was held in a hangar at
Cardington, built for airships!). Despite the enthusiasm, neither the records
for endurance nor distance were broken but it was an unusual and  enjoyable
day out. We travelled  out from York in an open-topped bus  usually used for
scenic tours of York. But is was a dull, cold day for September and those of
us who had the foresight to get seats inside the bus watched as semi-frozen
paperfolders creaked their way down the stairs when we arrived at the
airfield. The museum itself was most interesting, a place I had not heard of
before. It had a large collection of old military planes and numerous smaller
exhibits. Restoration of salvaged wrecks of aircraft is constantly going on.
The airfield was used by the Royal Canadian Air Force during the last war.
The restaurant or canteen was still called "The NAAFI" (meaning Navy, Army
and Air Force Institutes). But it was now much more luxurious than and NAAFI
I remembered when I was in the RAF! I enjoyed my lunch there.

The Convention, proper started the next day, Friday and so much went on that
it is impossible to give you a full account in this letter. There were
meetings of the whole convention, but mostly there were three parallel
teaching sessions going on, one of them devoted to teaching by the guests of
honour. There was, of course, a full attendance by English creative folders,
led by our present chairman, Dave Brill, who is a master of many styles of
paperfolding and whose best creations, exemplified by his running horse are
not far behind those of Yoshizwa's.  We also had with us the other two of the
trio of innovative British folders of the 1970s, Max Hulme and Martin Wall
and another notable British folder, Paul Jackson.

One of our guests of honour was Alfredo Giunta of Italy, who is a prolific
creator and also author of several paperfolding books in Italian. I first saw
his work in an exhibition at the convention of Origami Deutschland about four
years ago and admired his skilful folding, but I have never met him before.
He is one of those few folders who, like Yoshizawa, can breathe life into a
model. A likeable, quiet man, his speciality is exquisitely formed origami
insects and his creations in this field are very reminiscent of those of
Robert Lang of California.

Another guest was Michael LaFosse, of the United States, who is a creator of
wonderful living models of animals, including his famous bat. He is very much
a follower of Yoshizawa and is favourably regarded by him. Michael also makes
his own paper for folding and is one of the most influential folders today,
at the same time, having an interest in other paper crafts.

Not an official guest, but very welcome was Hermann van Goubergen of Belgium,
who still puts out just one model each year. All his models are, however,
outstanding. His latest model is a sitting cat. There was also Sergei Afonkin
of St. Petersburg, accompanied by his wife, Alice. Sergei has virtually
single-handedly built up a nation-wide origami movement in Russia and has
managed a surprising number of books and booklets about origami in a country
where just  a few years ago it was impossible to print one at all.

For me, however, the most interesting visitor, apart from Yoshizawa, was Eric
Joisel of France. Eric suddenly burst on the world Origami scene less than
two years like a meteor from nowhere. I saw some of his work in the
exhibition at the New York Convention in June of this year and I have
downloaded a few inadequate pictures of his creations from the Internet. This
was my first opportunity to see his work closely and also to meet Eric
himself. Fortunately for me he spoke good English - much better than my rusty
schoolboy French. Eric is a sculptor, and he told me he turned to
paperfolding because he had not been able to find a satisfactory niche in the
more usual media  of sculpture. At first he tried complex paperfolding in the
manner now very popular among advanced technical folders in the United States
and Japan. He had on display a splendid tortoise with its shell made up of an
origami tessellation. However, he turned aside from complicated folding and
tried folding origami masks in the style that Yoshizawa and other Japanese
folders have used. This still did not suit him, so he developed a much
simpler kind of folding, which began with parallel pleats sufficient to give
him the surplus paper to mould first the nose and the eyes and mouth. (A
central vertical box-pleat for the nose and two horizontal box-pleats placed
appropriately for the eyes and the mouth.) A few more creases enabled him to
mould the top of the head, chin and sides of the face. Then, he moulded the
paper, using the wet-folding technique so beloved of Yoshizawa. However, he
went far beyond Yoshizawa's moulding technique and Eric Joisel's style can
literally be described as origami sculpture. His creations may be more than
origami in the traditional sense, but they are magnificent. In his later
models he has folded the whole head including the back of the skull. However,
for these later models he has had to revert to a more complex process of
folding to enable him to get sufficient  shaping over the top and sides of
the head. My only regret that in my photographs of them using, the flash has,
as always, resulted in very flat frontal lighting and my photographs do not
show the shadows necessary to bring out the great beauty of the models. There
is no doubt that Eric Joisel is an artist and that someone without his
sculpting skills could not hope to reproduce his creations.

For the third time Mr Yoshizawa attended one of our meetings and although he
is now aged  85, he was in fine form and joined in the proceedings
enthusiastically. He was accompanied by his wife and sister-in-law, and had
come to England from Zaragossa where he had attend the convention of the
Zaragossa group the previous weekend. (The group at Zaragossa is, it appears,
the oldest of the world's paperfolding societies and its members  are still
active and lively, keeping themselves distinct from, although friendly with
the main Spanish Asociacion Espanola de Papiroflexia.)

I have, for some time been planning an article on the earlier life of
Yoshizawa - from his birth in 1911 to the Cooper Union Museum Exhibition in
the summer of 1959, by which time he had become generally known in both Japan
and the West. After scouring all my papers about him, I assembled a basic
outline of his life. Then I went to Munich in the autumn of 1995 to attend a
special Yoshizawa meeting organised by Susanna Wellenberg, and managed to
arrange an interview with him  as a result of which was able to prepare a
preliminary draft article. But many doubts and inconsistencies remained.

I was able to meet Mr. Yoshizawa again at the New York Convention, and while
I regarded his presence at the Convention as being primarily for the
Americans, I managed to see him for a brief discussion, with the help of Mrs.
Emiko Kruckner, who was acting as translator. But a New York Convention is
hardly the place for conducting a calm interviews!

At York, however, the situation was much easier. By now, he was familiar with
what I was trying to do and he was happy to talk to me again about his
lifetime in paperfolding. We also had an excellent interpreter in Mrs. Sonoko
Strong, whose husband was an Englishman and who is a good friend of the
British Origami Society. I had two meetings, which ended only when Mr.
Yoshizawa was called to go to teaching sessions  The two interviews were most
rewarding and removed a number of misunderstandings on my part. I was
reassured when Mr. Yoshizawa said that he was very appreciative of what I was
doing.

At the Convention, I was honoured to give a talk to a large audience about
Yoshizawa's life in his presence. Of course, the language barrier prevented
him from following what I said, although Mrs. Strong told him some of the
salient points. Mr. Yoshizawa gave a short speech after me and the session
ended in smiles and warm handshakes. He repeated his plea that folders should
study the form of the animal and its motion and try to capture its essence in
the folding. As always, he stressed that folding must be from the heart. He
still prays before he starts to fold.

The exhibition at the convention was excellent, with exhibits by Mr.
Yoshizawa, Alfredo Giunta, Michel Lafosse, and Eric Joisel, all excellent
_folders_ in the strict sense of the word, as well as being creators. Among
other folders, I feel I should again mention David Brill (have you by any
chance  heard of his book "Brilliant Origami"?) and Paul Jackson, usually
known for his minimalist style of sculpturesque folding, but who had a
display of bowls and vases created in the sculptural cross-pleating technique
he has been exploring for several years.  I could mention many other names
and I apologise to everyone whom I have omitted. The general standard of
folding in the exhibition appeared to me to be very high.

The accommodation for the Convention was very good, with ample, spacious
rooms for teaching, meetings, the exhibition and for socialising. The food
was excellent, and we all enjoyed sitting down to meals with an ever-changing
group of paperfolders from all over the world. I assume that our guests
enjoyed the English food. At any rate, there  were no protests from the
French, connoisseurs of cuisine that they are. But I noticed that at the
formal meal on Saturday, the traditional local Yorkshire dish of Yorkshire
pudding served with thick brown gravy before the main course, defeated  some
visitors accustomed to a less robust taste in food! For liquid refreshment
here were no less than two bars! They are not a feature of student
accommodation everywhere.

The climax of the convention came with the banquet to celebrate the thirtieth
anniversary of the British Origami Society, held on the Saturday evening. It
was most impressive and, I thought, a moving experience to look round the
large dining hall, full of paperfolders from all over the world, and all in
good humour and getting on excellently with one-another. The French
contingent livened up the proceedings with bursts of Gallic frenzy. John
Cunliffe (the organiser of the Envelope and Letterfold Association), John
Smith, who was chairman of the BOS for many years and I were presented with
the Sidney French Medal, so-called after our founder. It was an honour indeed
and it was all the more significant because it was presented in such and
impressive company. Bouquets of flowers were presented to Mr. Yoshizawa, her
sister and to Penny Groom, our membership secretary, whom everyone knows and
loves.

I cast my mind back to that tiny meeting at the Russell Hotel in London in
October 1967, when a small group of us, of which Iris Walker, Mick Guy, John
Smith and I are the survivors, got together to found the Society  Robert
Harbin, whom we appointed to be our first president and Sidney French, our
founder and first chairman were also present. That meeting too was followed
by a "splendid meal" at which we were guests of Sidney French.

I think that York was a very worthy successor to that first meeting and It
was, indeed, a Convention to be remembered.

David Lister.

Grimsby, England.
DLister891@AOL.com





Date: Mon, 06 Oct 1997 08:49:07 -0300 (ADT)
From: Rjlang@aol.com
Subject: Re:  Re: "Bizarre" rectangles for instrumentalists

Chinh Nguyen wrote:

> Cutting a 28.28 side *exactly* seems a bit tricky--how much leeway
> is there?  How can one measure 28.28?  Is it okay to do 28.3, for
> instance?

In general, in complex models, if you cut your paper accurate to about 1 part
in 200 or better, the error won't cause any problems. For simple models (or
if you're careful about how you distribute the error), larger errors can be
tolerated. So in this case, 28.3 cm would be fine.

Robert





Date: Mon, 06 Oct 1997 09:35:16 -0300 (ADT)
From: joel@exc.com (Dr. Joel M. Hoffman)
Subject: "Bizarre" rectangles for instrumentalists

>> 3. Cut your rectangle (20 cm x 28.28 cm).
>
>Why didn't you just say "my" musicians :)?  Anyway, cutting a 28.28 side
>*exactly* seems a bit tricky--how much leeway is there?  How can one
>measure 28.28?  Is it okay to do 28.3, for instance?
                                  /~~
The point is that the ratio is 1:V 2  (one to the square root of two).
There are lots of ways of constructing the square root of two.  The
easiest is to take a right triangle with two sides of unit length.
The hypotenuse's length obeys

         2     2     2
        a  +  b  =  c

When a=1 and b=1 (unit length), c is the square root of two.

So, for example, take a 1x2 (or 10x20 or 20x40, whatever) piece of
paper and put the short end away from you.  Fold the short end to meet
the long end (bisect one of the top angles).  The resulting diagonal
will be the length you want for the longer side.  Now bisect the 45
degree angle and fold diagonal to meet the long edge of the paper.
That's where to tear the paper.

-Joel
(joel@exc.com)





Date: Mon, 06 Oct 1997 09:46:00 -0300 (ADT)
From: RPlsmn@aol.com
Subject: Re: FOCA, OUSA, & Lillian Oppenheimer

In a message dated 97-10-05 17:25:11 EDT, you write:

>Friends.However, when eventually it is published, it will go some way to
>answering RPismn's questions. Incidentally, can you let us know who you are,
>RPismn?

I'm a guy who at the time of my visits to Lillian's aparment was seeking a
way to mass produce my adaptation of a decorative box (source obscure) into
an ashtray.  Her invitation to me to participate in the folding of models for
the Christmas tree was in my view at the time irrelevant to my agenda of
making Origami pay. After reconsideration and landing a job I concluded that
the discovery process involved in Origami was what gave it it's value, which
was beyond my means to market. Still I'm sure an enterprising folder could
take a cheeseburger wrapper and transform it into something worthy in trade
of  the original contents.    ......     RP --> L <--smn





Date: Mon, 06 Oct 1997 10:41:19 -0300 (ADT)
From: splazo <splazo@mail.bc.rogers.wave.ca>
Subject: Re: "Bizarre" rectangles for instrumentalists

This rectangle business seems far more bizarre to me than the rectangle
itself.

Admittedly, 2x2.828 or 1x1.414  are proportions that at first seem to
imply an unreasonably high level of precision. However the problem seems
to be more with the nomenclature than with the rectangle itself.

If you call it a rectangle of the proportions:
        ____
1 x v  2

it doesn't seem quite as arbitrary.
(The windows character map isn't being much help in my efforts to make a
square root sign).

Next to the square itself, the one-by-square-root-of-two-rectangle must
be the most common proportion in origami. Why all this strange talk of
it being bizarre?

Although I make no claim to unusual insight here, it may be worth
mentioning that in addition to the earlier mentioned ruler and scissors
approach, this rectangle can be produced from a square using the
somewhat more organic approach below:

1) crease the two diagonals of a square
2) on one side, bisect the angle between the raw edge and the diagonal
3) at the intersection of the crease formed in the last step and the
other diagonal, make a crease parallel to the edge from whose corners
these two lines originate
4) cut off the thin strip formed by this crease
5) voila! A one by root 2 rectangle

Obviously a diagram would make this a little clearer.

Anyway, the proportion emerges fairly naturally from a square, and can
be folded with any desired level of precision.

Not sure if this helps.

Steve Conrad





Date: Mon, 06 Oct 1997 15:10:31 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Summaries!

Unless anyone has any objections, here is what I propose...

I signed up today (10/6) for a "free" home page at geocities. Give me a
little time to get the site up and running and I will be more than happy
to TRY to host and maintain a site of origami-l summaries. I DO NOT
intend to write all of the summaries myself! Here's what I hope to have
up and runnin' shortly:

The originator of the question or someone trackin' the question writes
the summary (I will do this on some of them) and sends it to me via
direct e-mail and I will post it on the site.

Changes, updates, etc to a summary can be sent with a note to "update"
the information on the site. Do not resubmit the entire summary. I will
edit the summary and put in the changes.

A way to e-mail a summary to yourself or a friend (with a way to request
a summary via e-mail)

I (or other volunteers) will read back through the archive and try to
write "past" summaries.

A post to the origami-l list once a month of the index of summaries on
the site.

Any other ideas/suggestions will be taken into consideration and greatly
appreciated. I will be the final judge on how the site will look (it is
MY site afterall) and if someone wants to do it differently, I will
probably be more than happy at that time to pass it on.

Please let me know if you like or do not like this idea and whether or
not you think this will all be worth it...

Thanks, Wayne Fluharty
wflu@hotmail.com

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





Date: Mon, 06 Oct 1997 15:42:13 -0300 (ADT)
From: Jeff Kerwood <jkerwood@usaor.net>
Subject: Re: Summaries!

Wayne Fluharty wrote:
>
> Unless anyone has any objections, here is what I propose...
>
> I signed up today (10/6) for a "free" home page at geocities. Give me a
> little time to get the site up and running and I will be more than happy
> to TRY to host and maintain a site of origami-l summaries. I DO NOT
> intend to write all of the summaries myself! Here's what I hope to have
> up and runnin' shortly:
>
> The originator of the question or someone trackin' the question writes
> the summary (I will do this on some of them) and sends it to me via
> direct e-mail and I will post it on the site.
>
> Changes, updates, etc to a summary can be sent with a note to "update"
> the information on the site. Do not resubmit the entire summary. I will
> edit the summary and put in the changes.
>
> A way to e-mail a summary to yourself or a friend (with a way to request
> a summary via e-mail)
>
> I (or other volunteers) will read back through the archive and try to
> write "past" summaries.
>
> A post to the origami-l list once a month of the index of summaries on
> the site.
>
> Any other ideas/suggestions will be taken into consideration and greatly
> appreciated. I will be the final judge on how the site will look (it is
> MY site afterall) and if someone wants to do it differently, I will
> probably be more than happy at that time to pass it on.
>
> Please let me know if you like or do not like this idea and whether or
> not you think this will all be worth it...
>
> Thanks, Wayne Fluharty
> wflu@hotmail.com
>
> ______________________________________________________
> Get Your Private, Free Email at http://www.hotmail.com

A good idea.  When you post the index to origmi-l maybe you should also
post a "how to" so that new people know how to do it and so ole timers
remember to do their summaries.

Lets see if it works.

Bye :) Jeff Kerwood  jkerwood@usaor.net





Date: Mon, 06 Oct 1997 16:23:23 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: Summarys

Zachary Brown wrote:
> One different way to encourage summaries is to ask the originator of
> a given thread to post a summary.  That is how it goes on usenet

OK. Since I've never been the originator of an interesting thread
(unless you count occasional flamin' threads like the "subject line"
thread), this will make life very easy for me :-).

Matthias





Date: Mon, 06 Oct 1997 16:27:25 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: Re: FOCA, OUSA, & Lillian Oppenheimer

<< Still I'm sure an enterprising folder could
<< take a cheeseburger wrapper and transform it into something worthy in trade
<< of  the original contents

You got it: there's a whole educational "thing" going
with a book, workbooks for students, and supplies of
"wrappers" at a discount. It is called (hamburger)
"Patty Paper Geometry"; takes advantage of the fact that
the papers used to separate meat patties in fast food
chains (before cooking, that is) are square and semi
transparent, so you can find creases through a couple
of layers and do all the neat geometry things that can't
be done with compass and straightedge. (The book is
carried by both Fascinating Folds and OUSA Supply Center,
as well as some education supply houses...)

The patty papers are also good for snowflakes and other
small tessellation origami.

--valerie
Valerie_Vann@compuserve.com





Date: Mon, 06 Oct 1997 18:03:45 -0300 (ADT)
From: Wayne Fluharty <wflu@hotmail.com>
Subject: Re: Summaries!

>A good idea.  When you post the index to origmi-l maybe you should also
>post a "how to" so that new people know how to do it and so ole timers
>remember to do their summaries.
>
>Lets see if it works.

Great minds think alike (or is it fools never differ...)
Wayne Fluharty (wflu@hotmail.com)

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





Date: Mon, 06 Oct 1997 19:50:02 -0300 (ADT)
From: Nick Robinson <nick@cheesypeas.demon.co.uk>
Subject: Re: "Bizarre" rectangles for instrumentalists

Rjlang@aol.com sez

>Guitarist - 20 x 20 cm

Is this for a Gibson or Fender players? The neck lengths are
different....

all the best,

Nick Robinson

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 RealAudio clips!





Date: Mon, 06 Oct 1997 19:50:49 -0300 (ADT)
From: Mike & Janet Hamilton <Mikeinnj@concentric.net>
Subject: Missing Origami Sighting

In this month's (October 1997) issue of Smithsonian magazine, the
"Around the Mall and Beyond" column, which usually features an article
about a current exhibit at the Smithsonian Institution, is titled
"Pushing the Envelope".  It describes an exhibit of envelopes at the
National Postal Museum, and even talks of the annual envelope and design
contest.  Mentioned are envelopes embellished with graphics,
calligraphy, and coordinating stamps, but _nowhere_ is there a mention
of the folded envelopes that had been submitted (some by members of this
list) to the competition.

A pity - maybe we should write letters of protest (in folded envelopes,
of course).

Janet Hamilton

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





Date: Mon, 06 Oct 1997 22:08:14 -0300 (ADT)
From: Marsha Dupre <mdupre@greenwood.net>
Subject: South Carolina Group

Greenwood, SC origami group meets the first Tuesday of every month
from 6:30 to 8:30 at the Greenwood public library in Greenwood, South
Carolina.  We're small, but miraculously we have had continuous
meetings for over a year now.    If anyone is interested in attending
just e-mail me at my personal address (mdupre@greenwood.net) and I'll
be happy to see that you get directions to the meeting place.

Marsha DuPre





Date: Mon, 06 Oct 1997 23:13:16 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: "Bizarre" rectangles for instrumentalists

Nick Robinson wrote:
>
> Rjlang@aol.com sez
>
> >Guitarist - 20 x 20 cm
>
> Is this for a Gibson or Fender players? The neck lengths are
> different....

Anyway, if proportions are no good, you can always call it a ukulele...  As
for the basist, I thought it was a dwarf with an accustic guitar.

             ___________________
                |                 |
                |                 |
                |                 |
                |      }---{      |
                |      |0 ,0      |
                |     /'\   \     |
                |    |'''|  |     |
                |    |'  /  /     |
                |____|  /_ /______|
                    |/-/"-"-|       Le harfang des neiges,
Jean Villemaire     |       |       embleme aviaire
Montral, QUEBEC    |_______|       du Quebec

             mailto:villemaire@videotron.ca
                Origami-Montreal :
http://tornade.ere.umontreal.ca/~gonzalep/origami.html





Date: Tue, 07 Oct 1997 11:17:09 -0300 (ADT)
From: David Tait <tait@earthlink.net>
Subject: Re: Flowers

Ginette Boyer wrote:

> John Ahn wrote:
> > ... origami flowers.  Could anyone suggest a book in the intermediate range
> > that has a wide selection? (...) And finally, what is the best way to
> > make the stem and leaves?
>
> I've found Lionel Albertino's _Le Panier Fleuri_ quite complete for all your
> needs concerning these matters.  It's published by France Origami ( 18,
> Voltaire avenue, 95230 Soisy-sous-Montmorency, France;  tel. 34 28 16 08,
> fax. 34 28 16 33 ) and is currently distributed by Quebec Origami ( Marisa
> Filion, mailto:pstmmf@qc.sympatico.ca ).  Even if it's in french, diagrams
> are very clear.
>
>                 ___________________
>                 |                 |
>                 |                 |
>                 |                 |
>                 |      }---{      |
>                 |      |0 ,0      |
>                 |     /'\   \     |
>                 |    |'''|  |     |
>                 |    |'  /  /     |
>                 |____|  /_ /______|
>                     |/-/"-"-|       Le harfang des neiges,
> Jean Villemaire     |       |       embleme aviaire
> Montral, QUEBEC    |_______|       du Quebec
>
>              mailto:villemaire@videotron.ca
>                 Origami-Montreal :
> http://tornade.ere.umontreal.ca/~gonzalep/origami.html

  Hello Ginette-

I've been trying to send e-mail to the listing you had posted but it keeps
     coming
back undelivered. Do you know how I may purchase a copy of the book _Le Panier
Fleuri_?

Thank you!
Tricia Tait
USA





Date: Tue, 07 Oct 1997 11:24:38 -0300 (ADT)
From: David Tait <tait@earthlink.net>
Subject: Montroll giraffe

Hello-

I'm writing this request on behalf of my friend, Ned Carr. He is trying
to fold John Montroll's giraffe and has gotten up to step 31 on page
141- and is stuck! I don't know which book he is referring to because I
don't have it, myself- but thought someone might know. Ned is not
sighted so very explicit instructions would be appreciated.

Thanks in advance,
Tricia Tait





Date: Tue, 07 Oct 1997 11:47:03 -0300 (ADT)
From: Kristine Tomlinson <ktomlinson@platinum.com>
Subject: Long: Some Origami Sightings (Sort of) Connected with Netsuke

This weekend, I picked up a wonderful book on netsuke (a small carved
toggle fastened to a case hung from obi sash) that mentions gohei
(folded and cut paper representations of the diety) and what might be a
story about a folded mule.  This is the first I've read of a gohei seaweed
and cloth lineage in my research on sacred paper, cutting, and folding.
There are also Girls' Festival doll netsuke that look at lot like the paper
models shown on Plate XVI.

The book also has an explanation of Horaizan or Mount Horai which is
reproduced as a gomashio (return gift) in Isao Honda's "Noshi" which I've
been writing about lately.  The book also lists festivals, the seven lucky
gods, and many, many other interesting subjects.  This book is another
example of how you can find interesting paper-related information in
other contemporary art forms.  We've already found this with textiles and
paintings, and now through netsuke, we have some sculptural examples.
 The text follows:

GOHEI ILLUSTRATIONS

pp. 63-64

"In the Shinto faith anything that is dedicated to God is called 'nusa' or
'gohei.'  At first seaweed was used for this purpose; later cloth, and
finally paper were substituted. The sprig of the evergreen called 'Sakaki'
(Eurya Ochnacea), ornamented with strips of paper and used in
connection with Shinto ritual, known as 'tamakuji', is merely another form
of 'gohei'.

Rice-straw rope (shime-nawa), with sprays of rice-straw and paper
strips at regular intervals, is used as a partition to mark off consecrated
places within which evil spirits are not permitted to enter.  It is also seen
in New Year decorations, hung outside the doors of the houses.

In Illustration No. 53 an evil spirit is being expelled from its haunt in the
stump of a tree.  A shime-nawa is placed round it and a priest is seen
holding a gohei in his hands and offering a prayer." [Carved by
Masatomo 18th-19th century.]

pp. 99

A Japanese legend about Tamamono Mae a fox disguised as a
lady-in-waiting based on Chinese legend is cited.  The lady is asked to
hold a gohei, but she throws it down, turns into the fox and escapes.
The gohei isn't illustrated on the netsuke.

pp. 121-122, Plate LV, No. 211

"Champion wrestlers are known as 'yokozuna,' from the straw girdle
worn by them.  It is customary for all the wrestlers to make a triumphant
entry into the arena each wearing a gorgeously ornamental apron, while
the champion wrestlers over the apron wear a thick straw-rope to
which strips of white paper are attached, in the fashion of Shinto
decorations, and tied in the back in a knot." [ Ivory Manju, carved by
Kosai Moritoshi  19th century.]

THE TAOIST SENNIN (Immortal) CHANG-KUO and his FOLDING MULE

pp. 83

"The legend is that he [Chang-Kuo or Cho-kwa-ro] rode on a white mule
which carried him several thousand miles a day, and when his journey
was finished he folded the mule up like a sheet of paper and put it away
in a box.  When he wanted a ride he had only to wet it and the white
mule was again ready for service."  [Could this be the earliest reference
to wet-folding :-}]

URASHIMA VISITS HORAIZAN

pp. 90-92. "One day he [Mizue Urashima, a fisherman in 578 AD] went
out in a fishing boat and caught a huge tortoise, which turned into a
woman and bewitched him. Urashima was so pleased with her that he
made her his wife and they went to live in the palace of the Sea-god
known as Horaizan or Ryugu." (The legend continues.  A second legend
calls Horaizan a "fairyland" and mentions the mountain shown in the
gomashio.)

Source:
Jonas, F.M.  Netsuke. Rutland, VT and Tokyo, Japan: Charles E. Tuttle
Company, [1928, 1983 eleventh printing], 185 pp., hardcover.  In print
about $30 (mine was second hand and a lot cheaper).

Kristine Tomlinson
ktomlinson@platinum.com
Waltham, MA, USA





Date: Tue, 07 Oct 1997 12:25:22 -0300 (ADT)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Quilting Tools

Quite a while ago, somebody asked for a source for
the ShortCut cutting mat and other quilting/paper
cutting tools. Well, here it is.

Keepsake Quilting
Route 25B
PO Box 1618
Centre Harbor, NH 03226-1618
USA

You can order toll-free (or so they say)at:
1-800-865-9485
Foreign orders:
1-603-253-8731

The ShortCut mat costs US$29.99. In case you
forgot what it is all about, here's the description
right out of the catalog:
"ShortCut(tm) Rotary Cutting Mat"
Cut strips of fabric without having to reposition a ruler each time.
Just lay the ShortCut(tm) mat over your fabric, insert your rotary
cutting blade in the first slot and cut. Then move your rotary cutter to
the next appropriate slot and cut again. Slots are in 1/2" increments.
to cut squares, cut strips first, then turn mat 90degrees and cut in
opposite direction. Can be used to cut triangles and bias strips, too.
Acrylic, 16"x16 1/2"." Item No.9354

Matthias, not connected to any company.





Date: Tue, 07 Oct 1997 13:03:55 -0300 (ADT)
From: Janell Jarman <jarman@digitalpla.net>
Subject: Re: Summaries!

Wayne Fluharty wrote:
>
> Unless anyone has any objections, here is what I propose...
>
> I signed up today (10/6) for a "free" home page at geocities. Give me a
> little time to get the site up and running and I will be more than happy
> to TRY to host and maintain a site of origami-l summaries. I DO NOT
> intend to write all of the summaries myself! Here's what I hope to have
> up and runnin' shortly:
>
> The originator of the question or someone trackin' the question writes
> the summary (I will do this on some of them) and sends it to me via
> direct e-mail and I will post it on the site.
>
> Changes, updates, etc to a summary can be sent with a note to "update"
> the information on the site. Do not resubmit the entire summary. I will
> edit the summary and put in the changes.
>
> A way to e-mail a summary to yourself or a friend (with a way to request
> a summary via e-mail)
>
> I (or other volunteers) will read back through the archive and try to
> write "past" summaries.
>
> A post to the origami-l list once a month of the index of summaries on
> the site.
>
> Any other ideas/suggestions will be taken into consideration and greatly
> appreciated. I will be the final judge on how the site will look (it is
> MY site afterall) and if someone wants to do it differently, I will
> probably be more than happy at that time to pass it on.
>
> Please let me know if you like or do not like this idea and whether or
> not you think this will all be worth it...
>
> Thanks, Wayne Fluharty
> wflu@hotmail.com

Too complicated...I like the idea of posting summaries directly to the
list.  I also agree that this will remind others to summarize replies to
their own questions.

As for when a thread is over, have a set period (one week?  two weeks?)
of inactivity on a topic before summarizing.  That should be enough time
for most people to reply.

Janell





Date: Tue, 07 Oct 1997 13:50:02 -0300 (ADT)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Hamilton Books origami!

I received a catalog from Edward R. Hamilton Bookseller today.

They only do mail order and only to the US.
They only accept checks and money orders and do not take orders over the phone.

You can write them for a catalog at:
        Edward R. Hamilton, Bookseller
        Falls Village, CT 06031-5000

In their Arts and Crafts section they list:
    154814 Origami In Action: Paper Toys that Fly, Flap, Gobble and Inflate!
    by Robert J. Lang.

That is flagged as a new book, publishers price is listed at $15.95,
Hamilton's price is listed at $11.16.

Sorry Robert  I hope you still get your normal commission/author's-cut!

They also have a web-site:  http://www.hamiltonbook.com/
(yes, it is singular, no 's' on the end of "book"), check out their Arts and
Crafts book section for Papercraft listings including:

PAPER BOXES. By Michael G. LaFosse.
     Item # 926175 Pub at $ 19.99 Your Cost $ 13.99

     Contains all you need to make eight wonderful box projects
     suitable for gift giving, combining easy-to-follow instructions
     with colored and patterned paper that is ready to cut, fold, and
     glue, and templates to trace over and over again for and endless
     supply of boxes. Paperbound Well illus. in color. Quarry 8
     1/2x11.

ORIGAMI: 30 Fold-by-Fold Projects. By Paulo Mulatinho.
     Item # 231274 Your Cost $ 5.95

     Demonstrates playful projects such as a panda bear, a habited nun,
     and a sonobe cube by describing each fold with a clear diagram.
     Hardbound Well illus. 80 pages Chartwell 8 1/4x10 1/4.

Items and info provided for interest piqueing only, not responsible for
any typos, misprints, etc. etc. etc.

-D'gou
Submitted on 10.7.97 at 12:50pm Eastern US Time.





Date: Tue, 07 Oct 1997 14:29:02 -0300 (ADT)
From: Teresa Hathaway <terry@hathaway.dungeon.com>
Subject: NOSHI

This is a second hand question - which means it was referred to me from
another Librarian.  She has a patron who is looking for information on
NOSHI, apparently a traditional fold that is often used on packages.

Is anyone familiar with this term and if so any ideas on diagrams?

Teresa Hathaway
terry@hathaway.dungeon.com
teresa.hathaway@mildenhall.af.mil





Date: Tue, 07 Oct 1997 16:26:49 -0300 (ADT)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: NOSHI

Eric Kenneway's "Complete Origami" book (OP but may
be in some libraries) has a short piece on NOSHI
as I recall. Also perhaps one of the Robert Harbin
books (??)

--valerie





Date: Tue, 07 Oct 1997 16:43:51 -0300 (ADT)
From: David Dureisseix <David.Dureisseix@lmt.ens-cachan.fr>
Subject: paper about polygons (2)

Hi,

  I recently posted a message about a paper I wrote for folding
largest regular pentagon from a square. I get a lot of answers
and I realised that my bibliography was really not up to date.
In particular I didn't credit R. Morassi for finding the first
folding sequence of such a pentagon in 1989 (because I wasn't
aware of this reference... sorry).
  I then had to re-write the paper, with more constructions...
For those who want to have a look, it can be found in the archive
at
ftp://ftp.rug.nl/origami/articles/polye.ps
thanks to Maarten van Gelder.
The uncompressed file is now about 1.8 Mb.

  As I have only done a second hand work for the pentagon, I
looked closely to other polygons, and found a way to fold in
particular the optimal heptagon and nonagon...  in a second paper
that can be also found in the archive at
ftp://ftp.rug.nl/origami/articles/polye2.ps
(about 1 Mb).

  If someone interested can not reach the archive, I can
directly mail the postscript file to him (or eventually
an uuencoded gzipped file ?)

  Yours,

--
 +---------------------------------------------------------------------+
 |    David DUREISSEIX                                                 |
 |      LMT CACHAN             fax : (33) 1 47 40 27 85                |
 |      61 Av du Pdt Wilson    tel : (33) 1 47 40 22 25                |
 |      94235 CACHAN CEDEX     e-mail : dureisse@lmt.ens-cachan.fr     |
 |                     (depuis la France, remplacer (33) 1 par 01)     |





Date: Tue, 07 Oct 1997 18:31:51 -0300 (ADT)
From: Jeff Kerwood <jkerwood@usaor.net>
Subject: (Thanks) Re: Quilting Tools

Matthias Gutfeldt wrote:
>
> Quite a while ago, somebody asked for a source for
> the ShortCut cutting mat and other quilting/paper
> cutting tools.
> ...
> Just lay the ShortCut(tm) mat over your fabric, insert your rotary
> cutting blade in the first slot and cut. Then move your rotary cutter to
> the next appropriate slot and cut again. Slots are in 1/2" increments.
> to cut squares, cut strips first, then turn mat 90degrees and cut in
> opposite direction. Can be used to cut triangles and bias strips, too.
> Acrylic, 16"x16 1/2"." Item No.9354

It was me.  THANKS.

BYE :) Jeff Kerwood   jkerwood@usaor.net





Date: Tue, 07 Oct 1997 18:49:18 -0300 (ADT)
From: Lisa Hodsdon <Lisa_Hodsdon@hmco.com>
Subject: Re: NOSHI

Valerie Vann's correct about _Complete Origami_*:

On p. 128 of _Complete_ (after a short description of
Noshi), is the following:

"For more information about this type of origami, see Isao
Honda's _Noshi: Classic Origami in Japan_, Japan Publications,
Tokyo, 1964."

Surely long out of print, but available through ILL from somewhere?

*Might as well do this right:
Kenneway, Eric. _Complete Origami_, St. Martin's Press, NY, 1987.
ISBN: 0-312-00898-8
LC: TT870.K42

Lisa





Date: Tue, 07 Oct 1997 19:05:52 -0300 (ADT)
From: Elizabeth George <EMGeorge@classic.msn.com>
Subject: origami shopping opps in Charlotte, NC

I have the opportunity to visit Charlotte this weekend. I've been there before
and visited a
large-ish book/software store and was able to purchase a few books I didn't
have. However, this was several years ago, before last fall, when Charlotte
was host to the Southeast Origami Festival. What I'm hoping is that, since the
festival, some forward thinking, enterprising entrepreneur (sp?) will have
noticed the growing interest and now will have stocked their establishment
will the creme de la creme of Origami publications (I know Charlotte is not
exactly a megalopolis, but in good ole' NC it's what passes for it).
        Any and all input will be greatly appreciated!!
        (Sorry that this is such a minute regional appeal, but I've noticed
     postings
from several NC, SC residents, and I'm hoping one of them will have the
knowledge I seek).
Thanks!!





Date: Tue, 07 Oct 1997 19:09:49 -0300 (ADT)
From: Douglas Zander <dzander@solaria.sol.net>
Subject: Re: Montroll giraffe

>
> Hello-
>
> I'm writing this request on behalf of my friend, Ned Carr. He is trying
> to fold John Montroll's giraffe and has gotten up to step 31 on page
> 141- and is stuck! I don't know which book he is referring to because I
> don't have it, myself- but thought someone might know. Ned is not
> sighted so very explicit instructions would be appreciated.
>
> Thanks in advance,
> Tricia Tait
>
>

 First, it seems he is making the (regular) Giraffe not the Spotted Giraffe
 that starts on page 139 of Montroll's book entitled, _African Animals in
 Origami_.   What he is having trouble with is what will become the head.
 The hidden paper that is pulled out was placed into its position back in
 step 24.  Here is what I did, you may suggest it to your friend.   First,
 I took a square scrap piece of paper and folded diagonally for the head
 and neck of step 22.  I used the scrap piece as just the very right side
 of the model; the large triangle that is reverse-folded in step 22.  I went
 through the diagrams and found that at first I had folded step 27 wrong!
 I wish to explain step 27 because that may be where the problem is.  The
 two triangles sticking up are folded down the outside, not reverse-folded.
 In other words, the reverse fold is just for the outside of the two
 triangles, and towards the inside the triangles are folded along the
 horizontal creases that were made in step 26.  These two triangles become
 triangular in nature.  When the model is opened in step 30 a long rectangle
 is formed with the left side coming to a point.  Now for step 31.
 (remember that when it says 'do not flatten' it means the point at the left
 side)  Now petal-fold the right side.  Another way to do this is to reverse
 fold each corner first and then fold back the top flap.  The petal-fold
 will produce a square that is two layers thick.  Now for step 32.
 Carefully, turn the model over from top to bottom.  Reach into the inside
 of the model and pull out the hidden paper.  This is a trick that Montrol
 likes to do often.  When you have pulled the hidden (extra) paper up gently
 squeeze the model back together and refold the square.  The extra paper
 comes around to the top of the model.   Now you should have
 everything back the way it was except with extra paper that can be
 squash-folded into another square (in step 33).  At first, the extra paper
 in step 33 will stick straight up like a fin or something; it is this fin
 that is squash-folded into the second square.  Hope this helps.

--
 Douglas Zander                |
 dzander@solaria.sol.net       |
 Milwaukee, Wisconsin, USA     |





Date: Tue, 07 Oct 1997 19:13:25 -0300 (ADT)
From: Jeff Kerwood <jkerwood@usaor.net>
Subject: Re: Quilting Tools

Matthias Gutfeldt wrote:
>
> Quite a while ago, somebody asked for a source for
> the ShortCut cutting mat and other quilting/paper
> cutting tools. Well, here it is.
>
> Keepsake Quilting
> Route 25B
> PO Box 1618
> Centre Harbor, NH 03226-1618
> USA
>
> You can order toll-free (or so they say)at:
> 1-800-865-9485
> Foreign orders:
> 1-603-253-8731
>

Matthias:

I tried the 800 number and got a recording saying it was not a valid
number. I also tried calling 800 information and they didn't have an 800
number for Keepsake Quilting. Any thoughts? You gave the address so this
is not big deal, I'll just write them or try to contact them at the
foreign number.

BYE :) Jeff Kerwood   jkerwood@usaor.net





Date: Tue, 07 Oct 1997 23:14:36 -0300 (ADT)
From: JacAlArt@aol.com
Subject: NORTH Carolina Groups?

Moving to Western North Carolina next June
(Asheville/Hendersonville/Waynesville). Any origami groups out there? I've
contacted Johnathan Baxter from Charlotte, but never heard back from him.

~Alec





Date: Tue, 07 Oct 1997 23:26:06 -0300 (ADT)
From: Jean Villemaire <boyer@videotron.ca>
Subject: Re: Flowers

David Tait wrote:
>
> Ginette Boyer wrote:
> > I've found Lionel Albertino's _Le Panier Fleuri_ quite complete ... It's
> >published by France Origami ...  Even if it's in french, diagrams
> > are very clear.
>
> Do you know how I may purchase a copy of the book _Le Panier Fleuri_?

You can try contacting directly by snail mail France-Origami whose address I
gave earlier:

        France Origami
        18, Voltaire avenue
        95230 Soisy-sous-Montmorency
        France

Or by contacting Quebec-Origami:

        Quebec Origami
        a/s Paul St-Laurent
        780, Calixa-Lavallee, suite #6
        Qubec, QC
        Canada

        (418) 527-7565 Tel
        (418) 527-9733 Fax

        mailto:pstmmf@qc.sympatico.ca





Date: Wed, 08 Oct 1997 08:36:16 -0300 (ADT)
From: Kenny1414@aol.com
Subject: Re: NOSHI

In a message dated 97-10-07 13:47:46 EDT, you write:

> From: terry@hathaway.dungeon.com (Teresa Hathaway)
>
>  This is a second hand question - which means it was referred to me from
>  another Librarian.  She has a patron who is looking for information on
>  NOSHI, apparently a traditional fold that is often used on packages.
>
>  Is anyone familiar with this term and if so any ideas on diagrams?
>

I checked my book collection and found a couple of references.

I have a small book, "Noshi, Classic Origami in Japan" by Isao Honda,
copyright 1964, published by Japan Publications Trading Company,
"64 pages, with 20 two-color classic ORIGAMI diagrams,
11 Origami patterns, folded crepe paper, and full instructions for
making NOSHI, plus an actual sample." It describes Noshi, Mizuhiki,
various wrappers, and napkin folds.

Regarding Noshi, it says "More than 10 different kinds ... were
handed down until the 19th century ...", but does not give details.

It does have diagrams for "three kinds of noshi ... attached to ...
gifts today", and for the "betrothal gift wrapper, or yuino-zutsumi"
used for a formal presentation.

I have a Japanese paperback, copyright 1985 by K. Ekiguchi,
published by Escargot Books, ISBN 4-534-01038-9, priced
$8.50, that appears to be about gift wrappings. It shows
diagrams of several noshi-like wrappings, on pages
168-171, 184-192.

Noshi are still used in Japan today, so there should be more recent
books and magazine articles available, probably in Japanese.
Try asking at a Japanese bookstore, crafts store, or dry goods store.

Aloha,

Kenneth Kawamura        kenny1414@aol.com





Date: Wed, 08 Oct 1997 08:39:21 -0300 (ADT)
From: Jorma Oksanen <tenu@sci.fi>
Subject: Re: NOSHI

On 07-Oct-97, Teresa Hathaway (terry@hathaway.dungeon.com) wrote:
>This is a second hand question - which means it was referred to me from
>another Librarian.  She has a patron who is looking for information on
>NOSHI, apparently a traditional fold that is often used on packages.

>Is anyone familiar with this term and if so any ideas on diagrams?

Harbin's "Origami 2" has diagrams for a simple noshi.

--
Jorma Oksanen   tenu@sci.fi

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





Date: Wed, 08 Oct 1997 08:39:45 -0300 (ADT)
From: Francis Firth <Francis.Firth@uce.ac.uk>
Subject: RE: NOSHI

Teresa Hathaway writes:
this is a second hand question - which means it was referred to me from
another Librarian.  She has a patron who is looking for information on
NOSHI, apparently a traditional fold that is often used on packages.

Is anyone familiar with this term and if so any ideas on diagrams?
Teresa Hathaway
terry@hathaway.dungeon.com
teresa.hathaway@mildenhall.af.mil

There is a NOSHI fold in Robert Harbin's Origami Paperfolding ! (otherwise
known as Teach Yourself Paperfolding). It gives a very short explanation
about Noshi.
Francis Firth
Francis.Firth@uce.ac.uk





Date: Wed, 08 Oct 1997 11:44:54 -0300 (ADT)
From: DORIGAMI@aol.com
Subject: Money Rose

After much work and a long time in the doing the $6 money rose, money tree,
and money folding tape is finally finished.  Hooray. Dorigami





Date: Wed, 08 Oct 1997 14:21:08 -0300 (ADT)
From: burleigh@hackberry.chem.niu.edu (Darin Burleigh)
Subject: Exhibit at Purdue

My wife and I were finally made it to the origami exhibit at Purdue University
(Lafayette, Indiana, USA) last Sunday. Hats off to Prof. Arnold Tubis for a
wonderful display!

Name dropping: I saw models folded and/or designed by several origami-l
regulars, e.g. Tom Hull Alex Bateman, Nick Robinson, and others (sorry if I
didn't catch all the names). Also works by such big 'names' as Robert Lang,
John Montroll, and Tomoko Fuse (folded by the original artist! as they say).
After hearing all the fuss about the Hungarian wunderkind, Peter Budai, I was
impressed with his work. He's even got a business card! (I collect business
cards.....)

This was a good cross section of what Origami is.
Professor Tubis himself had folded some very beatiful boxes made with elegant
papers (and even fabrics?). Then there was the modular pinwheel made with
deposit slips! Many technically challenging works, and realistic insects, as
well as many simpler folds.

This exhibit exposed me for the first time to areas I'd never seen before,
such as tesselations and dollar bill (and other money) folds.

In the commercial realm: One artist painted abstract designs on nice paper,
then folded butterflys. There was a display of local folder who sells jewelry
made from origami. Of course, some 'purists' will turn up their noses, but I
thought the tarantula earrings were a nice touch. There was also a collection
of drop-out subscription postcards for Business Week , of all things, which
apparently had commissioned several models for the ads.

And to top it all off, a whole table of books and newsletters from around the
world.

For this occaisonal folder, I found this to be a truly world-class exhibit.
The exhibit is only up until this friday; if your're in the Midwest its worth
a trip.

==========================================================
 - darin
burleigh@hackberry.chem.niu.edu
\\//\\//.\\//\\//.\\//\\//. http://hackberry.chem.niu.edu/HOME/dcb/
 '2 kinds of green, look out!' - dieter rot
