




Date: Tue, 16 Dec 1997 14:39:37 -0400 (AST)
From: DGS - Kevin Kinney PhD <kkinney@carolinas.org>
Subject: "Pathetically Simple Star" Instructions

Okay, here's the message I tried to send yesterday.

>I'd be very interested in your "pathetically simple" Star of David
design,

>since all the ones I know are anything but.

>

>Anyhow, what's wrong with simple?

Well, Nothing's wrong at all with simple, actually, since it means I'm
more likely to remember it for "on the spot" folding.  The only thing I
have against it is that I feel the simpler a model is, the more likely
someone else is to have come up with it already, so I'm more hesitant

But here's my description of the folding method:

<fontfamily><param>Times</param><bigger><bigger>I'm going to try two
tricky things here, submitting a model to public scrutiny (not that
bad) and describing a folding pattern by text-only.

The Very Simple Star of David:

This becomes *unbelievably* simple if you start with an equilateral
triangle sheet of paper.  I prefer to start with a square, for various
reasons (for many arguments on both sides of this debate, search the
archives)

Square, White side up.

        First, we evoke an equilateral triangle from the square. If you
already have a triangle, skip to step 8.

1.  Valley Fold the left side to the right and unfold

2.  Valley fold the top side to the bottom and unfold, making the
crease firm only for the rightmost 1/4 of the line (approximate).

3. Make a valley fold through the lower left corner, such that the
upper left corner lies along the crease in Step 2 (this creates a
60-degree angle out of the lower left corner), and unfold.

4.  Valley fold the top edge straight down, along the intersection of
the folds from Steps 1 and 3.  You now have a rectangle with a thin
strip of color at the top.

5.  Rotate the paper 180 degrees, so that the colored strip is now the
bottom side.

6.  Valley fold through the lower left hand corner and the midpoint of
the top edge.  A 60-degree angle has been formed from the lower left
corner.

7.  Valley fold the same way through the lower right corner and the
original midpoint (now becoming the upper point of the triangle)

        We should now have an equilateral triangle, mostly colored, but with a
small white isoceles triangle toward the bottom

        Now we form the Star:

8.  Bisect each of the three corners, making the creases sharp only at
the intersection of the bisector with the opposite side and at the
center of the triangle.  Try to leave the corners uncreased (for best
aesthetics).

9.  Valley fold each point to the intersection of the three lines
formed in Step 8 (which is also at the tip of the obtuse angle of the
smaller white triangle), and unfold.

10.  Turn the whole thing over (so the solid colored side is up).

11.  Valley fold each corner to the midpoint of the opposite side
(marked in Step 8), and unfold.

12.  Final Step.  The fun part.  This is going to be like that fold one
does to lock together the four flaps of a cardboard box (the
over-under-over-under thing).  Valley fold one of the points down along
the crease made in Step 11.  Valley fold the same point up along the
crease from Step 9.  Do this with the next point as well.  It will
partially cover the previous flap, and form a third triangular point
between the first two.  Do it with the third of the points.  Looks like
King David's Star now.  To complete the lock, take the part of the
third flap (just folded) that lies over the first one, and tuck it
under the first flap.  Each flap should now have one side which is over
an adjoining flap, and one side tucked under the other adjoining flap,
locking everything in place.

That's the completed Star.

If anyone knows if this is a trad design (very likely) or if there's an
original creator, please let me know.

If the text instructions are unclear (also very likely), let me know
and I'll try to make up a diagram to send to individuals or to the
Archive.

Kevin Kinney

kkinney@carolinas.org

(BTW, on the subject of "reinventing," Saturday I re-invented
Kawasaki's Pine Cone from Origami for the Connoisseur.  Oh, well).

</bigger></bigger></fontfamily>

Kevin Kinney

kkinney@carolinas.org





Date: Tue, 16 Dec 1997 15:01:28 -0400 (AST)
From: Dennis Walker <d_and_m_walker@compuserve.com>
Subject: Model Help!

Hello,

        I'm currently stuck at diagram 40 of Robert Lang's 'Piano Player'
from 'Complete Origami'.
        The problem is that the diagram says sink and the text says crimp?
Which is it? Also, do I sink/crimp all three identical triangles at that
point? Should I even have three identical triangles (left, right and
middle). If all three are to be sunk, do I then have to sink all 3 again
for step 41?

                Please help,

                                Frustratedly,
                                        Dennis Walker





Date: Tue, 16 Dec 1997 18:06:51 -0400 (AST)
From: Jorma Oksanen <tenu@sci.fi>
Subject: Re: Half a Square onward

On 13-Dec-97, John Smith (jon.pure@paston.co.uk) wrote:

>Fold a square so that:-

>All folds can be located by edges or folds (ie purely by folding)

Does this mean "by folds actually used" or "by folding"?The former
disqualifies all but two-fold solution as you don't know where the
center is.

>Not more that two layers of paper are involved ( ie no overlapping of
>the folded areas)

>The folded area or areas to sum to half the area of the original square.

>So far I have collected as solutions from contributors :-

>One fold   The crease to go through the centre of the square. As a special
>case we get a rectangle if the crease is parallel to an edge or a triangle
>if it goes corner to corner. Query :- is this the only solution
>for one crease?

Yes.

>Two folds  Fold parallel to the edge and then bookfold the opposite edge up
>to this. Query:- is there any other solution to the two fold case?

If extra creases are allowed to find landmarks there are more solutions
as Helena Verrill has proved. This can be done up to five folds, but
finding landmarks can be difficult.

>Three folds. Fold in half then blintz the two corners. ? any other
>solution.

One-fold solution, then bisect edge-crease corner of two identical
projecting one-layer flaps. Because of symmetry there are two pairs
of identical flaps.

>Four folds. Blintz 4 corners which gives a square (uniquely?). Is this the
>only solution with 4 folds ?

Square result is unique.

>Five or more ?????????

Five: As with alternate three-fold solution, but bisect all flaps.

Six or more impossible, as you can only do one fold without losing corners.

Jorma "I should fold more and think less" Oksanen





Date: Tue, 16 Dec 1997 18:09:41 -0400 (AST)
From: Jorma Oksanen <tenu@sci.fi>
Subject: Re: Half a Square onward

On 14-Dec-97, Helena Verrill (helena@mast.queensu.ca) wrote:
>Why not try the question with four layers, and 1/4 of the area?
>I think that might be a question with a prettier answer!
>I think a lot of tessellations could be made to do that.

>Also for 3, it's pretty easy to get infinitely many ways of folding so that
>there are three levels everywhere, by kind of zig-zagging the paper:
>Side view:
> _____________  _______  _____________
><_____  ______><___  __><_____  ______>
>______><___________><_________><_______

This works for any number of layers. If it's odd, do as above for full
width, if it's even, do as above for (N-1) Nths and fold the rest over.

>Looks like this has a multiple of three folds. presumably there
>are more interesting ways of getting three levels everywhere?

I doubt that, but I don't mind being wrong.

>The higher the number of layers you're allowed, the more possibilities
>you'll get probably, though it might turn out that for some numbers
>(try primes, eg 17) maybe there are very few ways of getting 1/17 of the
>area and 17 layers everywhere?

Hmmm. Give me a solution for any number of layers not power of 2 which
doesn't use only parallel/perpendicular creases.

Jorma





Date: Tue, 16 Dec 1997 21:33:32 -0400 (AST)
From: Robert Allan Schwartz <notbob@tessellation.com>
Subject: Re: 2nd Proceedings of Origami Science are OUT!

Is it possible for several of us to group together and place one large
order? Would that facilitate the currency exchange issues?

-----------------------------------------------------------------------
Robert Allan Schwartz       | voice (617) 499-9470  | Freelance instructor
955 Massachusetts Ave. #354 | fax   (617) 868-8209  | of C, C++, OOAD, OODB,
PO Box 9183                 |                       | and Java
Cambridge, MA 02139         | email notbob@tessellation.com

URL   http://www.tessellation.com/index.html





Date: Tue, 16 Dec 1997 21:34:37 -0400 (AST)
From: Robert Allan Schwartz <notbob@tessellation.com>
Subject: Re: 2nd Proceedings of Origami Science.

>it is  more accessible than were some of the contents of the
>Proceedings of the First International Meeting of Origami Science and
>Technology, which was organised by  Humiaki Huzita ("Humi") at Ferrara, Italy
>in December 1989. (I believe, incidentally, that the proceedings of the
>Ferrara Meeting are still obtainable from Humi.)

How can one acquire a copy of the First Meeting's proceedings?

-----------------------------------------------------------------------
Robert Allan Schwartz       | voice (617) 499-9470  | Freelance instructor
955 Massachusetts Ave. #354 | fax   (617) 868-8209  | of C, C++, OOAD, OODB,
PO Box 9183                 |                       | and Java
Cambridge, MA 02139         | email notbob@tessellation.com

URL   http://www.tessellation.com/index.html





Date: Tue, 16 Dec 1997 23:51:25 -0400 (AST)
From: Sy Chen <sychen@erols.com>
Subject: Re: "Pathetically Simple Star" Instructions

Well, I am not going to claim... But I have done something similar a year
ago. And I folded one for my Jewish friend last year. Sorry! Merida, not you.

The model is really based on Lewis Simon's simple star of david model. My
version keeps the color symmetry from all 3 mid-lines.  Here is a quote
from my private mail to the model requester:

>At 07:49 PM 8/10/97 -0400, you wrote:
>>Dear Sy,
>>
>>I was so happy to have found your site...I've been trying to locate simple
>>directions for a start of david as a party favor...while I see form the
table
>>of contents of your home page that you have instructions for this, I was
>>unable to retrieve...I would appreciate being able to do this, as it would
>>make a lot of people very happy.
>>
>>Thanks for your response.
>>
>>G. Diem
>>
>>
>
>
>To be honest, that design is an adaption from Lewis Simon's works, which
can be found in the magic of origami by Gray and Kasahara. Simon's version
is the simplest one I have ever seen. My part of design turns square into
equilateral triangle with 3 atatched 15-15-150 triangle on each side. The
rest of the folding (turning triangle into 6-pointed star) is the same as
Simon's version. The extra triangular flaps adds two-tone decorating
effects on Simon's model. So the model is from square (for square purist's
sake) yet simple.
>
>If this is still what you want. Please let me know. I can probably diagram
it out for you in a few weeks or send you finished/folded model to figure
it out.
>
>Thank you for visiting my web page!
>|------------------------------------------------------\
>|  _     Shi-Yew Chen (a.k.a. Sy) <chens@asme.org>     |\
>| |_| Folding http://www.erols.com/sychen1/pprfld.html --\
>|---------------------------------------------------------|
>

At 02:39 PM 12/16/97 -0400, Kevin Kinney  wrote:
>
>That's the completed Star.
>
>
>
>If anyone knows if this is a trad design (very likely) or if there's an
>original creator, please let me know.
>
>
>If the text instructions are unclear (also very likely), let me know
>and I'll try to make up a diagram to send to individuals or to the
>Archive.
>
>
>Kevin Kinney
>
>kkinney@carolinas.org
>
>
>(BTW, on the subject of "reinventing," Saturday I re-invented
>Kawasaki's Pine Cone from Origami for the Connoisseur.  Oh, well).
>
></bigger></bigger></fontfamily>
>
>
>Kevin Kinney
>
>kkinney@carolinas.org





Date: Wed, 17 Dec 1997 00:19:24 -0400 (AST)
From: Rachel Katz <mandrk@pb.net>
Subject: Re: An Origami Christmas (poem)

Rick,

That was a marvelous poem. Now I know how to wet fold..."using snow from <my>
seat!

Rachel Katz
Origami - it's not just for squares!





Date: Wed, 17 Dec 1997 01:20:17 -0400 (AST)
From: Helena Verrill <helena@mast.queensu.ca>
Subject: Re: Half a Square onward

Hi Jorma,
Thank you for the question - made me think a bit; here's a cute
solution for 3 layers, with just 6 folds, that are not all parallel:

  a ___________b_________c
   |          / `        |
   |         /    `      |
   |        /        `   |
   |       /            `|d
   |      /             '|
   |     /           '   |
   |    /         '      |
   |   /       '         |
   |  /     '            |
   | /   '               |
   |/ '                  |
  n|-                   -|e
  m|_____________________|f
  l|_____________________|g
   |_____________________|
  k                       h

This is supposed to look like a square!  that is, ackh are the
corners of a square.  b is the mid point of ac, and the triangles
abn, bcd, bdn, nde, are all 60,30,90 triangles (those are the angles).
After folding the triangle part (non horizontal lines), you have a
strip of width 1-root(3)/2, which you fold in third with creases
mf and lg.  (the original square has side length one.)

There will be exactly three layers everywhere, and the final shape,
which will look something like this:

                      , '|
                   , '   |
                , '      |
             , '         |
          , '            |
       , '               |
    , '                  |
   |- - - - - - - - - - -|
   |_____________________|

will have exactly 1/3 the original area.

So, are there more ways?

Helena
helena@mast.queensu.ca





Date: Wed, 17 Dec 1997 01:54:50 -0400 (AST)
From: Helena Verrill <helena@mast.queensu.ca>
Subject: Re: Half a Square onward

OK, I think I have worked out what the questions are supposed to be.

I guess you said you were not sure exactly what question you were
asking; so after thinking about this a bit, here is my interpretation
of two reasonable questions to ask:

1) Find how to fold a square of paper so that the finished thing
will lay flat, and the area of the finished thing will be 1/2 the
orginial, and there will be exactly two layers of paper everywhere.

2) Find how to fold a square of paper, which is coloured on one side,
and white on the other, so that the finished thing will lay flat, and
for each side of the finished origami, either the area of red showing
is exactly 1/2 the orginial, or the area of white showing is exactly
half the original, and there will be at most two layers of paper everywhere.

These are both interesting questions to look at, and will have different
by related answers.

And to generalise:

1^n) Find how to fold a square of paper so that the finished thing
will lay flat, and the area of the finished thing will be 1/n the
orginial, and there will be exactly n layers of paper everywhere.

2^n) Find how to fold a square of paper, which is coloured on one side,
and white on the other, so that the finished thing will lay flat, and
for each side of the finished origami, either the area of red showing
is exactly 1/n the orginial, or the area of white showing is exactly
half the original, and there will be at most n layers of paper everywhere.

Jorma just answered question 2), and I agree with her solution.
I previously posted an answer to question 1), where the maximum is 4 folds.

By the way, another answer for 3 folds, for both 1) and 2) as formulated
above, is to Blintz half, and then, rather than folding the other
part in half, fold along the 1/4 line parallel to the edge (so you get
something like a boat.)

If this is getting too complicated to follow in email, maybe I'll put
some descriptions and pictures somewhere on my web pages, especially if I
get ineresting results related to number of layers in tessellations.

Helena
helena@mast.queensu.ca





Date: Wed, 17 Dec 1997 04:37:55 -0400 (AST)
From: Rjlang@aol.com
Subject: Re:  Exposing Yourself

Jeff wrote:

>>>>
I am putting together a few exhibit pieces and am trying to make them as
perfect as possible. I...would greatly appreciate any tips, about making
models "look great", that you experienced folders would take the time to pass
my way...I'm not wanting anything model specific...I am asking you to expose
your "neatness" thoughts so I (and others I presume) can see into your
mind...and learn what is second nature to you.
<<<<

Okay, here's one: Don't ever make any portion of a crease sharp until you
KNOW that it's forming in the right place. That's the problem with making a
crease by pressing down on one end and sliding your finger along the fold to
make the crease: you don't know exactly where the crease is going to land
until you've already made the crease. It is better to do what Jeff described
Michael LaFosse as doing: you make the crease a little bit at a time all
along its length, making sure all of it is in the right place and all of the
parts of it connect neatly to each other, before you make any of it sharp.

Here's another thing: some creases should be sharp, some don't need to be.
Don't make a crease sharp unless you really need it to be that way. This is
particularly important for creases that see a lot of strain, such as the one
that divides the paper in half -- you'll usually fold back and forth on this
crease several times as you work your way through a complex model. If you can
make it lightly, or only partially along its length, that will weaken the
paper less.

Robert





Date: Wed, 17 Dec 1997 06:01:49 -0400 (AST)
From: ROCKYGROD <ROCKYGROD@aol.com>
Subject: Re:  Re:  Re: Searching for...origami Christmas gift ideas

Is there a source for Yamaguci Pyramid box.  I love boxes and have not heard
of this one.

Patty Grodner





Date: Wed, 17 Dec 1997 08:54:49 -0400 (AST)
From: DLister891 <DLister891@aol.com>
Subject: Re: 2nd Proceedings of Origami Science.

Bob Schwartz asks where one can acquire a copy of the Proceedings of The First
International Meeting of Origami Science and Technology (to give it its full
title).

Write to Humiaki Huzita ("Humi") and ask if it is still available and if so,
the price, including postage, to wherever you live. His address is:
English)
1-35131 Padova,
Italy.

Telephone (Italy)  +39 - 49 - 774979.

Anyone interested in the Proceedings of the two Internationql Meetings should
also obtain two copies of "Symmetry: Culture and Science", the quarterly
journal of the International Society for  the Interdisciplinary Study of
Symmetry.

Volume 5, number 1 and Volume 5, number 2 (both of 1994) were devoted to
origami and have articles by such mathematical paperfolders as Robert Lang,
Jacques Justin, Jun Maekawa, Didier Boursin, Koryo Miura, Peter Engel and
Humiaki Huzita. Together, they are very like a third volume of the above
"Proceedings".

Copies may be obtained from the executive secretary,Gyorgy Darvas, who happens
to live in Hungary. Write to him, again asking if the volumes are still
available and what is the price including airmail (surface or air) to wherever
you happen to be. His full address is:

Gyorgy Darvas,
The Institute for Advanced Symmetry Studies,
PO Box 4,
Budapest,
H-1361   Hungary.

Telephone:   +36 - 1 - 131 - 8326

Fax:             +36 - 1 - 131 - 3161.

E-mail:          h492dar@ella.hu

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

Having written all that, I am bound to say that we are still lacking a good
comprehensive introduction to the mathematics of folding and to the
mathematics of origami, (which are not quite the same thing).

David Lister,
Grimsby, England.

DLister891@AOL.com





Date: Wed, 17 Dec 1997 09:22:47 -0400 (AST)
From: DLister891 <DLister891@aol.com>
Subject: Re: Exposing Yourself

A further suggestion for Jeff on folding perfectly. (Although most people who
know me  will be rolling helplessly on the floor that I, of all people, should
make any suggestion at all about actual folding!)

Have you remembered the "fudge factor"? I was surprised recently to come
across folders who had never heard of the tem or perhaps it would be better to
say that they had never met the concept, becuse it has several different
words. Anyway, I know it as the "Fudge Factor".

The "fudge factor" means making small variations from what would be
geometrically exact folding to allow for the fact that creases themselves take
up some of the paper. One of the best-known instnces is in folding the classic
crane so as to obtain a perfectly sharp tail and beak. When narrowing what
will become the tail and beak, one should not fold the edges to the certre
line. Instead, leave a slight gap. The when the tail and beak are folded
together they will do so neatly, without any excess of paper which would
overlap and prevent the formation ofa really sharp point.

There are no doubt many different types of "fudge folds". All this means is
that there should be some give and take in your folding and that you should
not fold in too geometrically precise a way.

David Lister





Date: Wed, 17 Dec 1997 10:21:57 -0400 (AST)
From: morpha <morpha@columbia-pacific.interrain.org>
Subject: Re: Searching for...origami Christmas gift ideas

Jeff Kerwood wrote:
>
> > From: morpha <morpha@columbia-pacific.interrain.org>
> > To: Multiple recipients of list <origami-l@nstn.ca>
> > Subject: Re: Searching for...origami Christmas gift ideas
> > Date: Thursday, December 11, 1997 10:57 PM
> >
> > The 8-sided stars in Modular Origami by Tomoko Fuse make beautiful
> > Christmas tree ornaments. I am including one with each christmas card I
> > send.
>
> ??? Which fuse book is that (Japanese title I presume?), do you have the
> ISBN?
>
> Thanks, Jeff Kerwood
> jkerwood@usaor.net

Well Jeff, that's a little difficult because I don't have a computer and
internet access at home where I keep my books and I'm not good at
remembering names.  Aha!  I'll go surf Amazon.com.  Back in a moment.

Oh, silly me.  It's Unit Origami.  ISBN: 0870408526

I apologize for being incorrect and imprecise.

Morpha





Date: Wed, 17 Dec 1997 11:58:09 -0400 (AST)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: How many tries for a perfect model? (was Re: Exposing Yourself)

To date (that I've seen), Robert Lang and David Lister have responded
to Jeff Kerwood's query.  Robert's advice was along the lines of
when/how to make the crease (sharp/soft, etc.).  David's advice was
about fudge factors.

I'd like to also suggest that there is no substitute for
experimentation and familiarity with the model and the folding
sequence.  That seems kind of obvious, but it continually amazes me how
many people expect to get a perfect model on the first try!

To follow up on both Robert's and David's advice, I'll throw in my two
cents (one borrowed from each).

    One refrain I hear, often jokingly, is: "the paper isn't square."
    While that may be true, I have often found that if I am getting a
    very slight error, it is because of my folding, not because of the
    paper.  For example:

        If I use the "standard" trick for making an initial diagonal
        crease, which is to line up opposite corners of the square, and
        then, with one finger/hand holding those points in place, using
        another finger to draw a straight line from that corner to the
        center of the paper, and then out along the crease line to each
        corner, I often find that despite my best efforts, the paper
        shifts.

        On the other hand, I have had much better success by ignoring
        the opposite corners, and instead focussing on bringing two
        adjacent sides together so that I have one very crisp corner,
        and then I work from that corner over to the opposite one.  As
        Robert Lang suggested, you don't want to make the creases any
        sharper than you absolutely have to.  And to know that, you
        have to be familiar with the folding sequence...

        I have seen V'Ann Cornelious fold an 8.5x11 sheet of paper in
        half, the long way, in the air, with amazing accuracy.  Her
        techinique (as best as I can remember) is to make the crease in
        several stages, each one being firmer/sharper than the others.
        I have had good success with that technique.  By making the
        crease softly at first and then going over it once or twice
        more, the paper has a chance to adjust to the crease gradually
        and I have found that I almost never get puckered creases.

    Along the lines of fudge factors, I agree with David Lister.
        (As a side note, if you look _closely_ at the photographs of
        models in, say, Fuse's books, you'll find that they aren't
        perfect, however the paper selection and dazzling effect of the
        model's geometry can trick your eyes into not noticing.  I'll
        give a nod to Robert Lang's comment about the photo of the
        Shiva model in Ansill's Mythical Beings, and agree that the
        models that show up in the photos are not always folded by
        "experts." ;-) )
    In addition to fudge factors for the enclosing of layers of paper,
    as David noted, there are other fudge factors, esp. in unit
    origami, for getting the tabs and pockets to fit cleanly, as well
    as deliberately misaligning layers to create a bulky effect (as one
    might use in Peterpaul Forcher's Papagei II model, for example, to
    give the look of volume and solidity.

    One thing Robert didn't touch on (in his most recent message), is
    precreasing, when to use it and when to avoid it.  I find that the
    more I can precrease the starting square, the better my model
    looks.  Consider the bird base, for example.  The most common
    folding sequence I have seen diagrammed involves precreasing two
    layers at once, one of which is subsequently reversed to form the
    petal fold.  If instead one precreases all the creases, the bird
    base will be much neater when formed.  This ties in with David's
    comments about fudge factors, since you often should not precrease
    too exactly.  I like to precrease the bird base and the head and
    tail narrowing creases on Neale's Dragon, and various creases on
    Montroll's Vulture, for example, and will deliberately add in fudge
    factors so that their is room for all the layers.

    During the '97 OUSA Convention, Frances Le Vangia noted that when
    you make creases, the paper will stretch.  This probably shows up
    most obviously when precreasing grids (as for Kawasaki's rose
    models, as an example) and implies that you want to be careful
    about how you sequence your precreasings.

    Another "trick" when forming pairs of limbs, for example, is to
    fold/form one and use it to line up the other (or deliberately
    misalign it for a more natural/less geometric look).  This works
    well on models which have to stand on their feet, such as
    Montroll's Vulture, or Rohm's Turkey.

    For reverse folds, one trick is to not precrease them, or if you
    must, precrease each fold independently so that you don't have to
    reverse any of them.  Also note that if the fold is a judgement
    fold, there will be one direction in which you can move-the-
    paper/adjust-the-fold that will hide the previous crease lines, and
    one direction which will expose them.  If you make your initial
    folds softly, and take into account which direction the adjustment
    will hide this initial folding, you can hold off on making the
    creases sharp and final until you achive the look you want.  And
    you may decide not to make even the final crease sharp, depending
    on how that affects the look of the model.

    According to Jeremy Shafer, Akira Yoshizawa insists that one not
    overshoot ones creases.  When you get to the edge of the
    paper/model, you don't let you finger(s) slip off, but rather stopt
    them at the edge itself.  I haven't done much to verify how this
    affects accuracy, but one of my co-workers who folds claimed that
    when he tried it he got much better creases/results.

        -D'gou

P.S. Sorry this is so long, I didn't have the time to make it shorter. ;-)





Date: Wed, 17 Dec 1997 12:40:55 -0400 (AST)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: Re: composting origami paper

IMHO, most industrial papers are toxic waste. Even commercially
available handmade paper is usually treated with some ugly chemicals;
first the cellulose is produced with lots of chemical help, then the
paper is "glued" in some way, and later on the colouring adds to the
cocktail. So unless you know exactly who produced the paper and how, you
can never know what chemicals were used.
But unless your compost heap is purely "organic" (or whatever word you
use for chemical-free vegetables), a bit of paper chemicals won't add
much to the normal level.

Matthias

Magdalena Cano Plewinska wrote:
>
> One of my other passions is gardening and I hate to be throwing out so
> much perfectly good (though crumpled) kami when I might be composting
> it. Does anyone know what dyes are used for kami and is it OK to put
> it on the compost heap? The kami would not be a huge part of my heap.





Date: Wed, 17 Dec 1997 12:59:35 -0400 (AST)
From: Matthias Gutfeldt <Tanjit@bboxbbs.ch>
Subject: The Fudge Factor

What a nice, descriptive expression! We discussed this problem recently
on rec.arts.origami; I had a very hard time explaining what I meant.
Your explanation is, as usual, very useful. And the expression "fudge
factor" really sums it all up. Thanks David!

Matthias

DLister891 wrote:
> Have you remembered the "fudge factor"? I was surprised recently to come
> across folders who had never heard of the tem or perhaps it would be better to
> say that they had never met the concept, becuse it has several different
> words. Anyway, I know it as the "Fudge Factor".
(SNIP)
> There are no doubt many different types of "fudge folds". All this means is
> that there should be some give and take in your folding and that you should
> not fold in too geometrically precise a way.





Date: Wed, 17 Dec 1997 15:47:30 -0400 (AST)
From: A.Welles@student.kun.nl
Subject: Re: How many tries for a perfect model? (was Re: Exposing Yourself)

Here's my comment on this matter and it's a very short one:

We at all time must not forget we are human beings that make small
unaccuracies. We are not perfect robots. So, of course folding must be
done neatly. It's good to realise that if we would do each fold perfect
the model doesn't work, because of the thickness of the paper.

I must admit I also fold the Bird Base by precreasing, rather than folding
on several layers. But if we would fold a model by precreasing its crease
pattern entirely, that would:
a) take away the fun of folding (that's why I do not really like
tessalations. It's nice to have done once and I thank Alex Bateman for
showing this wonderful way of folding to me! But it's not my favourite
kinda Origami)
b) It simply wouldn't work. Paper has a certain thickness that causes
creases to be slight off of the place where they theoretically should be.

That's my vision.

Arjan Welles
the Netherlands
A.Welles@Student.kun.nl





Date: Wed, 17 Dec 1997 16:04:09 -0400 (AST)
From: GURKEWITZ@WCSUB.CTSTATEU.EDU
Subject: RE: "Pathetically Simple Star" Instructions

Kevin,

    It's happened again. You've rediscovered a fold of a star of David.
The version from an equilateral triangle appears in my book "3D
Geometric Origami" and is credited to the late Lewis Simon.

Rona





Date: Wed, 17 Dec 1997 16:35:58 -0400 (AST)
From: Valerie Vann <valerie_vann@compuserve.com>
Subject: NOR: Formatted E-Mail

The recent hotshot versions of major E-Mail programs seem to be
coming with a default installation that produces formatted E-Mail:
either in HTML (the web site formatting markup language) or some
other system that puts in colors, fancy fonts, and such junk.

A lot of people seem to think this is a great idea, including
Netscape and Microsoft, both of which would like to force the
world to conform to their ideas of how software should operate.

On many systems, including some of those I use, any E-Mail that is
not plain ASCII text gets downloaded as a file, parked somewhere
on my hard drive, and then if I want to know what the darn
thing says I have to hunt the file down and open it, and
then dispose of it. If it is something I want to save, I can
only keep it as a file; I can't save it in my regular E-Mail
file folders.

If my E-Mail program *does* take a stab at reading one of
these, it is full of HTML markup or other weird stuff that
makes it a pain to read and/or print. A lot of the time when
I get something like that, I just dump it unread.

So if you are using one of the newer versions of Netscape,
MSMail, MSExplorer, AOL etc. that can do fancy email, please,
please set it to send plain ASCII before posting to the
origami-L or sending E-Mail to people who are not necessarily
using one of these fancy E-Mail programs.

And while you're at it, please set your
E-Mail program *not* to quote the entire message you're
responding to, even if it already contains 14 previously
quoted E-Mails and is several Kbytes long!

--valerie (decending from soapbox..)
Valerie Vann
valerie_vann@compuserve.com
  Mostly Modular/Geometric Origami Web Pages:
     http://people.delphi.com/vvann/index.html
     http://members.aol.com/valerivann/index.html





Date: Wed, 17 Dec 1997 17:04:57 -0400 (AST)
From: michael gebis <gebism@std.teradyne.com>
Subject: Re: How many tries for a perfect model? (was Re: Exposing Yourself)

>>>>> "James" == Daddy-o D'gou <dwp@transarc.com>
>>>>> wrote the following on Wed, 17 Dec 1997 11:58:09 -0400 (AST)

  James> I'd like to also suggest that there is no substitute for
  James> experimentation and familiarity with the model and the
  James> folding sequence.  That seems kind of obvious, but it
  James> continually amazes me how many people expect to get a perfect
  James> model on the first try!

I once read a magazine article where an apprentice chef was practicing
making rice balls.  He said something like "Perhaps after 10 years of
constant practice I will be able to make a good rice ball."

Another applicable quote comes from an artist who said, "Everybody has
10,000 bad drawings in them.  Once you get those out of your system,
then you can start making good drawings."

I try to keep both quotes in mind whenever I sit down to fold.





Date: Wed, 17 Dec 1997 17:16:20 -0400 (AST)
From: Robby/Laura/Lisa <morassi@zen.it>
Subject: Re: 2nd Proceedings of Origami Science.

David Lister wrote:

>Write to Humiaki Huzita ("Humi") and ask if it is still available and if so,
>the price, including postage, to wherever you live. His address is:

I can add his e-mail at the University of Padova. He's retired now, but I
think he still has access to his mailbox.

<huzita@padova.infn.it>

Bye to all,

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: Wed, 17 Dec 1997 17:40:29 -0400 (AST)
From: Jeff Kerwood <jkerwood@usaor.net>
Subject: Re: Exposing Yourself

I am forwarding the following email that I Vera. I am including the entire
email so you can see what Vera is talking about. Have any of you tried
this? Does it work? Where can you get it (invisible plasticizer) in the
U.S. and what would it be called in the US?

Thanks for the feedback and Merry Christmas.
Jeff Kerwood
jkerwood@usaor.net

====================================================
----------
From: Vera Minazzi <verace@tin.it>
Subject: Re: Exposing Yourself

 Hello,

I don't know whether my little tip can be useful or not.........

what about trying to spray an invisible plasticizer on your exhibit pieces?

They'll really  "look great":
the creases seem sharper and the colours smarter too.
Your origami pieces will look like wooden made sculptures.

The invisible plasticizer screens the paper from dust. Be careful not to
spray too much, as the paper could lose colour.

Here in Italy, you can buy this kind of spray in paint shops or in
"bricolages" stores (sort of  "do it yourself" stores).

Good luck!

Merry Christmas and Happy folding

                                                                Vera

p.s.: let me know if there is any problem.

Vera Minazzi
Via Pinturicchio 9
20133 Milano
 Italy
tel/fax: +39  2  29529804
 e-mail: verace@tin.it





Date: Wed, 17 Dec 1997 18:11:18 -0400 (AST)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Re: Searching for...origami Christmas gift ideas

Waaaaaaaaaay back on 12/12/97, "Kevin Kinney PhD" indited:

           Beyond ornaments, you could have a go at making larger
           sculpted models as actual art-gifts.  I keep planning on
           doing this, but always run out of time.

I'm still hoping to be able to do that this year, once I get some other
folding obligations duly satisfied.

For decorative purposes, I like Tom Hull's "Chain of Cranes" -- its in
one of Gay Merril Gross' books (Sorry, I don't have mine with me, and
beside those are out of print).

Crane's are simple enough that everyone can join in making them (though
all at their own speed), and the assembly/linkage is very simple and
clever too.  Foil makes for excellent crane garlands, though it is a
bit slippery and you'll have to be a little bit careful moving the
assembled chains around.

I'll beg Tom's indulgence to post a text only description, since it is his
model.

-D'gou





Date: Wed, 17 Dec 1997 18:21:09 -0400 (AST)
From: Daddy-o D'gou <dwp+@transarc.com>
Subject: Re: PCOC videotape

Waaaaaaaaaay, Waaaaaaaaaaay, Waaaaaaaaaaaaay back on 11/25/97, Rachel
Katz posted a note explaining that Ms. Bianca Chang was making
available copies of a home video of parts of the PCOC conference.

My copy just arrived and as I wasn't able to attend, I am most
pleased!  Thanks Rachel for posting the info!  Thanks to Bianca too for
all the work in duplication, etc.

While there is some footage of the exhibit, I found that the web photos
that Mark Morden posted about on 11/28/97 are much better if you have
access to the web to see them.

What makes the tape wonderful are the performances, a story by Rachel
Katz that Gay Merrill Gross tuned for the conference, a few folks I
didn't recognize doing some juggling and performance stuff, but the
best part (I'm biased) was getting to watch Jeremy perform.  He did
some juggling, including outdoor fire juggling and eating.  What a hoot
to see him on a flaming unicycle riding up and down the street, and to
see the cars stop as he was juggling the flaming batons.  Also a
highlight was his Mr. Smiley story in which he had the assistance of
several young volunteers from the audience.

-D'gou

Here is Rachel's message for anyone too lazy to dig it out of the archive.
Remember, Bianca is doing this gratis, and I can't say for sure that the offer
is still open...

           I received a few requests for information regarding the
           videotape made by Bianca Chang at PCOC. The tape runs for 55
           minutes. It contains some nice shots of the exhibition, a
           bit of the model menu and most of the entertainment.
           including both the indoor and outdoor portions of Jeremy
           Shaeffer's performance.

           Bianca says that she will be glad to send copies to anyone
           for a $20 fee including shipping. Bianca has raised a few of
           thousand dollars for charity through her origami card and
           mobile sales. She will donate all proceeds from this tape to
           charity also.

           If you'd like a copy, please send your check directly to her
           at:

               Ms. Bianca Chang
               37 Schwab Road
               Melville, NY 11747-1114

           Rachel Katz
           Origami - it's not just for squares!





Date: Wed, 17 Dec 1997 18:57:48 -0400 (AST)
From: Jorma Oksanen <tenu@sci.fi>
Subject: One less female folder (Was Re: Half a Square onward)

On 17-Dec-97, Helena Verrill (helena@mast.queensu.ca) wrote:

>Jorma just answered question 2), and I agree with her solution.

I prefer 'his' myself. I hope you all haven't been nice to me just
because you thought I'm female :)

Jorma, definitely male





Date: Wed, 17 Dec 1997 19:19:39 -0400 (AST)
From: jaelle <jaelle1@swbell.net>
Subject: Re: One less female folder (Was Re: Half a Square onward)

Jorma Oksanen wrote:

> On 17-Dec-97, Helena Verrill
> (helena@mast.queensu.ca) wrote:
>
> >Jorma just answered question 2), and I agree
> with her solution.
>
> I prefer 'his' myself. I hope you all haven't
> been nice to me just
> because you thought I'm female :)
>
> Jorma, definitely male

  naaaww .. we folders are just nice to everyone
. even you male types( giggle)

Gail





Date: Wed, 17 Dec 1997 20:03:14 -0400 (AST)
From: Helena Verrill <helena@mast.queensu.ca>
Subject: Re: One less female folder (Was Re: Half a Square onward)

sorry Jorma - I just thought that anyone who's name ended in
an "a" was female.  whoopse!  It is a pity to lose a female folder!
Helena





Date: Wed, 17 Dec 1997 20:08:06 -0400 (AST)
From: Bren Riesinger <fascfold@fascinating-folds.com>
Subject: Christmas Greetings and New Books

The staff at Fascinating Folds wishes each of you a Merry Christmas.  We
hope that your holidays are filled with peace and happiness - and lots of
time for folding :-)

For those of you who watch the Artisan Paper section, you'll be happy to
find thumbnail views of the paper now.
Tea-Bag Folding has returned to our shelves, and we are happy to be able to
add "An Introduction to Moneyfolding" by Paul Krueger to our list as well.
Contributors to the book include:  Robert Neale, Cyril Tessier, Terry Hall
and Stephen Weiss.

Merry Christmas!
Bren
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -
- - - - - - - - - - -
Fascinating Folds
Suppliers for Origami and the Paper Arts
http://www.fascinating-folds.com





Date: Wed, 17 Dec 1997 22:00:46 -0400 (AST)
From: "Thomas C. Hull" <tch@abyss.merrimack.edu>
Subject: Re: Searching for...origami Christmas gift ideas

D'gou says:

>>>
For decorative purposes, I like Tom Hull's "Chain of Cranes"...
I'll beg Tom's indulgence to post a text only description, since it is his
model.
<<<

Thanks, Doug, for putting me on the spot!  The model is
in Gay's book "The Art of Origami."   It's realy simple, hardly
worth calling a "creation."  Take two cranes.  Reverse a wing of one
of them inside, making a pocket into which you can insert a wing
of the second crane.  If you firmly crease the wings so that
they are perpendicular to the main body of the crane (i.e.,
not flat), then this will hold the inserted wing into place.

If you use foil or other slippery paper, you can improvise
by "rolling" up the inserted wing with the sunken wing.  That'll
make it stay, fer sure!

----- Tom "oh oh ho ho" Hull





Date: Wed, 17 Dec 1997 22:31:46 -0400 (AST)
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: Re: NOR: Formatted E-Mail

Valerie Vann wrote:

> And while you're at it, please set your
> E-Mail program *not* to quote the entire message you're
> responding to, even if it already contains 14 previously
> quoted E-Mails and is several Kbytes long!

I just want to add.  That if you do decide to let you e-mail program
qoute the entire message, as I have.  Do your part and edit out all the
parts that don't apply directly to what you have to say.  Especially if
it is several Kbytes long!
--
Kim Best                            ************************************

                                    * I've come to the conclusion that *

Rocky Mountain Cancer Data System   * origami, isn't folding so much,  *

420 Chipeta Way #120                * as it is precision crumpling.    *

Salt Lake City, Utah  84108         ************************************





Date: Wed, 17 Dec 1997 22:47:24 -0400 (AST)
From: Kim Best <kim.best@m.cc.utah.edu>
Subject: Re: One less female folder

Jorma Oksanen wrote:

> Jorma, definitely male

Hey Jorma!  Maybe you,  Laurie Bisman, and myself, should form a new
self-help group,.  "Male Paperfolders that others always assume are
female."   We could get together and talk about the frustration we feel,
when some of our fellow males talk down to us because they think we are
women.

On second though, maybe there are some advantages.  We are a little bit
more sensitive to the crap, you ladies have to put up with.

--
Kim Best                            ************************************

                                    * I've come to the conclusion that *

Rocky Mountain Cancer Data System   * origami, isn't folding so much,  *

420 Chipeta Way #120                * as it is precision crumpling.    *

Salt Lake City, Utah  84108         ************************************





Date: Wed, 17 Dec 1997 23:43:07 -0400 (AST)
From: Basyrett <Basyrett@aol.com>
Subject: Re:  Re: Help me save Christmas.

I have made a version of the wire Christmas Tree located on page 10 in Chiyo
Araki's book -  Origami for Christmas.  My alterations are as follows:
  8-10 ft of galvanized steel wire became 50 feet of copper tubing
   28" wooden sticks became a 10 foot pole

You can see this tree got out of hand.  It has imitation garland wrapped
around the wire and lights (i've lost count on the number of strings).  I love
my tree, although it is not for everyone.  When I proudly unveiled the tree to
my landlady - she nearly had a heart attack from the shock.  I love it!  It is
a free standing(swinging) bell shape supported at the top.  If you would like
a picture or more info I'd be happy to share.  If you live near Long Beach NY
maybe a visit can be arranged.  Please contact me!  At this time of the year,
this tree is my obsession!  :-)
basyrett





Date: Wed, 17 Dec 1997 23:46:58 -0400 (AST)
From: Daddy-o D'gou <dwp@transarc.com>
Subject: Re: Searching for...origami Christmas gift ideas

Tom Hull indited:

+Thanks, Doug, for putting me on the spot!

Sure, anytime!

+                                      It's realy simple, hardly
+worth calling a "creation."

I can't speak to that, after all, the Omega Star is just a simple step from
the XYZ plane, (The Omega Star is usually creditted to Sullivan/Shen if I
recall correctly).  "Chain of Cranes" by Traditonal/Hull?  I"m only half
kidding here, but this is a different thread...

+If you use foil or other slippery paper, you can improvise
+by "rolling" up the inserted wing with the sunken wing.  That'll
+make it stay, fer sure!

Ahhh...  But of course, Mr. Hull.

Thanks for your indulgence!

-D'gou





Date: Thu, 18 Dec 1997 00:42:09 -0400 (AST)
From: Mr & Mrs Owen <djowen@pcl.net>
Subject: Re: One less female folder

Thank you.
joyce owen

> On second though, maybe there are some advantages.  We are a little bit
> more sensitive to the crap, you ladies have to put up with.
> Kim Best





Date: Thu, 18 Dec 1997 01:21:55 -0400 (AST)
From: ROCKYGROD <ROCKYGROD@aol.com>
Subject: Re:  Christmas Greetings and New Books

Hi Bren,

Do you carry the tea bag?  Or any idea where to get them?

Also I have given out my last catalog.  Would it be possible to get a couple
of them.  I have quite a few people interested in ordering from you.

Thanks,

Patty Grodner





Date: Thu, 18 Dec 1997 02:51:14 -0400 (AST)
From: Geretschlaeger Robert <geretsch@borg-6.borg-graz.ac.at>
Subject: Re: 2nd Proceedings of Origami Science.

>
>Having written all that, I am bound to say that we are still lacking a good
>comprehensive introduction to the mathematics of folding and to the
>mathematics of origami, (which are not quite the same thing).
>
>David Lister,
>Grimsby, England.
>

Hello, all!

My name is Robert Geretschlager, I am stationed in Graz Austria, and most
of you on the list will not know me, although I have been lurking for quite
a while now.

I am breaking my previous silence to announce that I am working on just
such a book as David Lister was talking about. So far, I have about 75
pages of LaTex and drawings, most of it based on my articles already
published in mathematical journals (Mathematics Magazine and Crux
Mathematicorum), that some of you will be familiar with.

I am very aware of the risk I am taking with such a public announcement,
since I expect to be working on the thing for at least another year before
it is ready for publication (and, no, I dont have a publisher lined up
yet, either), but if people are expecting me to finish this, I hope it will
make me work faster.

I will be at the special session of the joint AMS-MAA meetings in Baltimore
in January, where I will be presenting some new things, including complete
methods of folding the regular 13-gon and 19-gon (both mathematically
precise), and of solving the general quartic equation in origami.

I hope this little message will be of some interest to some of you,

seasons greetings

Robert Geretschlager





Date: Thu, 18 Dec 1997 04:29:18 -0400 (AST)
From: skirsch@t-online.de (Sebastian Marius Kirsch)
Subject: Re: Exposing Yourself

On Mon, 15 Dec 1997, Jeff Kerwood wrote:
> I am putting together a few exhibit pieces and am trying to make them as
> perfect as possible. I haven't been folding very long and would greatly
> appreciate any tips, about making models "look great", that you experienced
> folders would take the time to pass my way.

Hm, I wouldn't count myself as an "experienced folder" (I've been doing
complex models for about two years now), but I'll answer anyway.

> I am at the point where I can fold lots of things but they seldom look "Oh,
> so perfect!" - and that's what I am striving for.

I think that "perfect" folding, as regards the accuracy of the folds, is
sometimes not so important. What's much more important is a life-like
posture and the final sculpting. I often wet-fold animals from thick
paper, where you simply can't be so accurate, and I find that they look
much better than some model that is folded perfectly, but is simply flat
from plain old kami.

> I was watching a La Fosse video and noticed that he lays the entire
> fold down before creasing it.

That's what I would have advised you to do as well. I first try to "bend"
the paper in the general direction of the crease, and then try to flatten
it.

> What I'm hoping for is that some of you good folders might listen to the
> things you say to yourself when YOU are folding.

I seldom talk with myself when I'm folding; usually I listen to some good
music or a radio play.

> "Make this crease a little 'loose' so I can do the reverse later."

You should try to avoid reversing folds as much as possible, because every
fold that is reversed will be less crisp. That means that I try to make
petal folds, reverse folds, squash folds all without any precreasing.

Re: Fudge factor -- I have heard about this as well, but I tend not to
over-use it. I use something like a fudge factor when I have to thin a
point, but not for other purposes (like concealing the back side of the
paper that would otherwise shine through on the back etc.).

Re: Soft creases vs. sharp creases -- I have the bad habit of making all
creases as sharp as possible, using my fingernail; this probably comes
from my experience with foil-backed papers which can be treated in any way
without ripping. I am working on this, but it all takes time.

I might add that there are only three things you can do to improve your
folding: folding, more folding end even more folding. Try to practice as
mich as possible; every model will make your folding better. I have
progressed tremendously over the past few years. Today, I sometimes feel
ashamed to give away (eg. for X-mas *<:-) ) some models I have made half a
year ago; I feel like I ought to do better than that. And half a year from
now, I'll probably feel like that about the models I am doing know.

But even though I think that my folding is now pretty good, and that I
have produced some lovely pieces, the opposite is true as well: I only
have to look at some model folded by Herman van Goubergen or by Dave
Brill, to feel utterly inferior; I feel like I will never be able to fold
something like that, let alone create it! Sometimes it brings tears to my
eyes to see what other people can create from one piece of paper. --
That's what we non-creators have to put up with. :-/

But perhaps it's like the story about the cook making rice balls: I guess
that in ten years, I'll be reasonably good. Perhaps I simply lack
patience, and all will come to me by itself if only I wait and practice.

Yours, Sebastian                                        skirsch@t-online.de
                         /or/ sebastian_kirsch@kl.maus.de (no mail > 16KB!)





Date: Thu, 18 Dec 1997 06:03:13 -0400 (AST)
From: DLister891 <DLister891@aol.com>
Subject: 1. Welcome to Robert Geretschlaeger.  2. Orimath Conferences.

Welcome, Robert Geretsclager! And every encouragement to you for your
projected book on the mathematics of folding. We all look forward eagerly to
its materialisation.

I'm interested that you will be attending the joint AMS-MAA  meeting in
Baltimore in January. (I understand that the intials mean the American
Mathematical Sociey and the Mathematical Association of America.) It promises
to be an exciting occasion and I'm sorry that I shall not be able to attend it
myself. Perhaps it's as well, becuse I'm sure that most of the proceedings
would go over my head! The subjects to be discussed will, of course,  be far
wider than the mathematics of paperfolding, but a paperfolding section is
being organised by Tom Hull. To my disappointment, I understand that it is not
intended to publish the proceedings of the conference, but I hope that either
I am misinformed about this or that there will be a change of heart. Perhaps
Tom could collect the paperfolding papers together specially for us. (A
conference without proceedings is like a book without conversation or
pictures.)

I am told that several paperfolding mathematicians will be there: in
particular, Tom Hull, Robert Lang, A. Sims and Chris Palmer fom America, Alex
Bateman from England and Ernst Blauenstein from Switzerland, (and now, Robert
Geretschlaeger from Austria), so I hope that great things will come of it for
the mathematics of paperfolding and in particular for origami tessellations.
Chris Palmer told me in Italy that he will be presenting a paper on a
particular family of origami tessellations jointly with the famous
mathematician, John Conway from Princeton, whose name seems to crop up
everywhere. (I had a discussion about his multifarious interests and
achievements while walking across the Golden Gate Bridge with Laura Kruskal,
whose husband, Martin David Kruskal is a professor of mathematics emeritus at
Princeton and who incidentally is the son of Lillian Oppenheimer.) Chris has
revealed that John, too, is a paperfolder. In their joint paper, Chris will do
the visuals, while John will translate them into mathematical terms.

Another interesting annual conference on Mathematics and the Arts is being
arranged to take place in the New Year at Albany, NY. but I regret that I do
not have the date. Perhaps Tom can give this. Chris Palmer intends to be
there. He has attended for the past two days and he told me that many matters
of interest to him as a paperfolder crop up. It was at one of these
conferences that Chris met John Conway.

I hope that in all this we are seeing the history of paperfolding in the
making!. Anyway, that's my excuse for rambling on about it so much. Blame
Robert Geretschlaeger.

David Lister,

Grimsby, England.

DLister891@AOL.com





Date: Thu, 18 Dec 1997 09:18:24 -0400 (AST)
From: Jane Rosemarin <jfrmpls@.spacestar.net>
Subject: Re: Exposing Yourself

Sebastian Marius Kirsch wrote:

>Sometimes it brings tears to my
>eyes to see what other people can create from one piece of paper. --
>That's what we non-creators have to put up with. :-/

I am travelling, so I can't find the quotation, but a few years ago, when
John Montroll was featured in the OUSA newsletter, he said something to
the effect that not everyone had to be a creator, that there are
composers and performers and that a person did not need to be both. Since
I am a musician who composed only a few pieces back when I was a student,
this statement really hit home (or should I say, struck a chord?).

I am constantly amazed at what origami creators can do, and at the great
variety of their styles and vision. But as for myself, I've been folding
for 40 years, and I don't think I will ever do more that come up with
variations on other people's work, fold well and choose papers
effectively (oh, and teach kids). I get tremendous enjoyment from it all,
and that will have to do for me.

Jane

P.S. I hope I haven't garbled the paraphrase too badly, or misattributed
it.





Date: Thu, 18 Dec 1997 10:01:15 -0400 (AST)
From: Bernie Cosell <bernie@fantasyfarm.com>
Subject: Re:  2. Orimath Conferences.

On 18 Dec 97 at 6:03, DLister891 wrote:

> Another interesting annual conference on Mathematics and the Arts is being
> arranged to take place in the New Year at Albany, NY. but I regret that I do
> not have the date. Perhaps Tom can give this. Chris Palmer intends to be
> there. He has attended for the past two days and he told me that many matters
> of interest to him as a paperfolder crop up. It was at one of these
> conferences that Chris met John Conway.

The conference this year will not be at SUNY Albany but has been moved to
the other coast: it'll be at UC Berkeley, Aug 3-7

  /Bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--
