




From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Mon, 15 Jun 1998 11:33:05 -0700 (
Subject: New author...awaits!!!

   I learned my Origami in jail as I wrote in the article published by
BOS last year.
   I and another folder formed a group that meets twice a month at the
Kingston Area Library in upstate New York. We have between seven and
fifteen people at each meeting; ranging between six to sixity.
   We are not a rich group so we have not been able to keep up with the
local news through OSOA. However, the list does keep us abrest of whats
going on. As do the varios web sites.
    Well we need the help of the Origami community as awhole. As luck
had it I uncovered a hidden folder! Thats right a babe hidden in the
woods.
    This author has been folding for almost forty, thats right 40
years...in almost complete isolation. She did go back to the original
school of New York folders and purchased books and paper at Lillian's
Union Square store.
    I have been given the pleasurable task of representing her in trying
to bring about the publication of her very first book.
     What I would like is information from those who have been published
and those who have not, as to which publishers you found easy to work
with,[or difficult],and why.
     Any and all comments will be evaluated, for the Artist has a very
strong desire to bring her book to our community with the highist
quality for both herself and for the Origamists.
     please feel free to write me at <kanarekorigami@hotmail.com> , or
to call me at 914-338-3296, EST about 8:30 pm

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





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Mon, 15 Jun 1998 11:58:22 +0100
Subject: help wanted

A chap in Panama wants a copy of my airplanes book so he can publish
some airplane designs in a newspaper.

I don't have a copy, but I gather it is available in the States. If
anyone knows where he could buy a copy, could you drop him a line - he's
at;  aamclean@pan.gbm.net

many thanks!

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!





From: Jeff Kerwood <jkerwood@USAOR.NET>
Date: Mon, 15 Jun 1998 14:10:49 -0400
Subject: Re: Paul Jackson's Complete Origami Course

From: Martin

> We need to purchase a copy of Paul Jackson's "The Complete Origami
> Course,"
> published in 1989, ISBN 038525234X.
>
> We got a copy from interlibrary loan, and it has disappeared.  We need to
> replace it.
>
> Does anybody have an extra copy to sell, or know of a bookstore that has
> one?
>
> Thanks,
> Marty

Oh do I sympathies. I lost a book that I borrowed from fellow folder and it
took some real looking to find a replacement copy. Here is some of what I
did or was preparing to do to find the replacement copy. (And thanks again
to those that offered the advice which helped me find my replacement copy -
some of what I pass on here is from them (sorry I don't recall who gave me
what advice)).

1) Online out of print book search services (web searches on +"Free Book
Search" and +"Origami Used"). There are MANY, hHere are some that you may
find useful.

http://www.interloc.com
http://www.abebooks.com
http://www.powells.com
http://www.mxbf.com
http://www.amazon.com
http://www.bibliocity.com
http://www.abebooks.com/home/SALAMANDER

2) Local out of print bookstores. Many out of print book stores (and some
of the online ones too) will do a search for you and try to locate the book
(often for a fee)

4) Try Half-Price Books in Austin, TX. phone # 512-346-9740.

3) Contact the publisher

Good Luck, Jeff Kerwood





From: Doug Philips <dwp@TRANSARC.COM>
Date: Mon, 15 Jun 1998 14:25:47 -0400
Subject: Re: money origami for wedding/graduation

Sebastian Marius Kirsch wrote:
> On Fri, 12 Jun 1998, Marty Perrigo wrote:
> > Does anyone have any good money folds for wedding gifts.
> Neal Elias's "Last Dance", from Oru 12 or the BOS Booklet 10 -- both out
> of print.

I s'pose you could adjust those to a dollar bill, but at 8x23 (just shy of 3x1)
it would be really tight.

I suppose you could do one out of larger paper and use a simple $ rosette as a
boutoniere or a few of them as a corsage....

-D'gou

P.S.  ORU may be defunct, but Sasuga may still be able to get them...
                        http://world.std.com/~sasuga/

--
end
<a href="http://www.pgh.net/~dwp">Doug's Fun Page</a>





From: "K.A. Lundberg" <klundber@MNSINC.COM>
Date: Mon, 15 Jun 1998 14:34:21 -0400
Subject: Re: Hospice

>Mike Kanarek wrote:
>>
>> I am looking for ideas to help raise money for my local Hospice.
>> This organization helps the dying and their families during their
>> hardest times.
>> During the holiday season they usually sell white paper cut outs for $10
>> to commemorate a loved one.
>> I just know that Origami is the way to go and I am counting on you for
>> your help and support.

__________________
One of the things I do with Christmas packages is to use the bookmarks
from --Paper People and other Pointers-- from BOS Booklet 30 as gift tags.
The body portion can be easily opened to write the inscription without
defacing the beauty of the tag.  I give a lot of books as presents and using
a bookmark as a tag satisfies my frugal nature about gift wrapping -- never
waste paper or ribbon when origami will suffice -- I use flowers, a new one
each year, instead ribbon held in place by folded paper bows with double
stick tape.  I don't know how BOS would feel about you selling the models
but a great many could be produce in a short amount time in a price range
comparable with commercial products that will just be throw away.  By the
way, I use the Toff pattern out of green paper with a small four-fold flower
in the brim to give on St. Patrick's Day.

Kalei -- klundber@mnsinc.com
(Contact me privately if you would like my surplus flowers.)





From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Mon, 15 Jun 1998 14:47:13 -0400
Subject: Re: money origami for wedding/graduation

At 07:06 AM 6/15/98 +0200, Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
wrote:
>On Fri, 12 Jun 1998, Marty Perrigo wrote:
>> Does anyone have any good money folds for wedding gifts.
>
>Neal Elias's "Last Dance", from Oru 12 or the BOS Booklet 10 -- both out
>of print.

That model is not a money fold, but it will be reprinted in the next Annual
Collection (OrigamiUSA), which is heading to the printer as we speak.

Marc





From: Carlos Alberto Furuti <furuti@AHAND.UNICAMP.BR>
Date: Mon, 15 Jun 1998 15:23:06 -0300
Subject: Last Dance (Was Re: money origami for wedding...)

>>From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>

>>On Fri, 12 Jun 1998, Marty Perrigo wrote:
>>> Does anyone have any good money folds for wedding gifts.
>>
>>Neal Elias's "Last Dance", from Oru 12 or the BOS Booklet 10 -- both out
>>of print.

It's a moot point, but LD's not a money fold---it uses a 3x1 rectangle.
Although I agree it's a terrific model and a nice wedding theme, IMHO
using an ordinary bill instead would make the model too small and thick.

        Sincerely,
                Carlos
        furuti@ahand.unicamp.br www.ahand.unicamp.br/~furuti





From: Jack Thomas Weres <jtweres@LUCENT.COM>
Date: Mon, 15 Jun 1998 15:32:29 -0500
Subject: Re: LARGE MODELS
Original-From: jtweres@ans.ih.lucent.com

ria and all,,,

while i do not have the exact name of the paper and its supplier
i do believe that i can point you
in the correct direction

to create large models
i have used 48"x48" "fadeless" black paper
-- it comes in a roll
   and it black on one side and white on the other, i.e. duo colored

try any local art supply store

this would be perfect for your penguins
and also for making faces from kenneway's "folding faces"
-- just image a 2x2 foot folded image of nixon
   as well as
   castro, shakespeare, etc.

good luck finding the paper

  /-=-=-=-=-=-=-=-=-=-=-///plieur de papier\\\-=-=-=-=-=-=-=-=-=-=-=-\
 /=-= jack thomas weres                         jtweres@lucent.com =-=\
/=======================\\\================///=========================\
"Let Go and Let Fold"                             "One Crease At A Time"

>
>  Greetings,
>  I need help for doing a large penguin.  I have 3'x3' black craft paper off a
>  large roll from the art
>  room in school and I can get a piece of white the same size, but I would
>  like to know if there is a
>  place that has duo sided paper like origami paper that size or a method of
>  putting the large papers
>  together as smoothly as possible to create a more realistic looking penguin.
>  Could some of the more
>  experienced enthusiasts please offer their expertise on a way to do this?
>  I'd appreciate your kind
>  advice.  I have done large models of one color paper before, but this
>  project is more difficult.
>  Thanks,
>  Ria Sutter





From: "K.A. Lundberg" <klundber@MNSINC.COM>
Date: Mon, 15 Jun 1998 16:42:20 -0400
Subject: Re: NO: DON'T RESEND YOUR MESSAGES! (was Re: origami to the rescue)

Joseph Wu writes:
>That's what I mean. All messages are making it to the list. They are just
>not reaching one server, and that server is causing all sorts of trouble
>with these error messages. Just ignore them.

____________________
This is good to hear...so even though we are signed up to get confirmation
of our posts being returned from the listserv as regular mail we shouldn't
worry that they aren't being processed.  For example, last week you made
some wonderful and helpful commments on the katana and I responded to the
list...I never recieved an error message from the listserv but I also never
saw my response posted on the list.  Should I worry?  Perhaps no response
was necessary to the answering post.  How can I tell the difference if my
posts are not returned as part of the regular list mail?

Kalei -- klundber@mnsinc.com





From: A.Welles@STUDENT.KUN.NL
Date: Mon, 15 Jun 1998 19:12:24 +0200
Subject: Re: NO: DON'T RESEND YOUR MESSAGES! (was Re: origami to the rescue)

All the messages I tried to send to the list I also got returned. The
weird thing is that the message did make it to the list, since I got a
copy of it in my mailbox and people have replied to it.

Arjan Welles
The Netheralnds
(A.Welles@student.kun.nl)





From: Perry Bailey <pbailey@MTAYR.HEARTLAND.NET>
Date: Mon, 15 Jun 1998 21:12:07 -0500
Subject: Re: Paul Jackson's Complete Origami Course

>At 10:43 AM 98/06/15 -0400, you wrote:
>>We need to purchase a copy of Paul Jackson's "The Complete Origami Course,"
>>published in 1989, ISBN 038525234X.
>>
>>We got a copy from interlibrary loan, and it has disappeared.  We need to
>>replace it.
>>
>>Does anybody have an extra copy to sell, or know of a bookstore that has one?

I think you may have to just ask how much on this one, I would be happy to copy
     things from my cop but it was just to hard to find.  All I can tell you is
     I got mine from Oregon, you might try at www.Powells.com  and see if it
     turns up, but it is very har

Perry





From: Bob Nienhuis <nienhuis@WGN.NET>
Date: Mon, 15 Jun 1998 15:26:10 -0700
Subject: Re: Origami discourse research (long, theoretical stuff)

Well, since you asked...
Nienhuis' VivoActive video can be found at http://www.wgn.net/~nienhuis/
It contains a set of short video clips on folding a dollar bill catapult.

Bob Nienhuis
nienhuis@wgn.net

>Very interesting work.
>
>Would someone please post a reference to Araki's VRML and
>Nienhuis's VivoActive video.
>
>Thanks,
>Rona





From: Pat Slider <slider@STONECUTTER.COM>
Date: Mon, 15 Jun 1998 15:27:09 -0700
Subject: There ought to be a name....

Working on a Kawahata dinosaur today, I thought that there ought to be a
name for a particular folding method that turns up in his and Montroll's
models. The method where you create a point of paper by pinching upward,
flipping an inverted triangle. Expect my English description here is
somewhat lacking.

Most of you probably have Montroll's "Animal Origami for the Enthusiast,"
for a good example I will point out step number 1 of the Brontosaurus in
that book, page 33 in my copy.

Anyway, I feel like I have to do this particular kind of step often enough
(and it is fun to do) that the move deserves its own name. Does one exist?

Also I wonder if this was a method invented by Montroll? I don't think I
have seen it in any earlier books.

pat slider
slider@stonecutter.com





From: Dahlia Schwartz <dahlias@BU.EDU>
Date: Mon, 15 Jun 1998 19:13:25 -0400
Subject: Re: Hospice & origami

Hi folks,

This is not a fund-raising idea, but an origami / hospice one.  This
thread has led me to think about the time I spent at hospice with
someone, and the emotions I felt.  I remember thinking how strange it
felt to have so many moments of joy and sadness and then to leave the
place as if we were never there.

So...I wonder if it wouldn't be a nice idea to begin a string of cranes
as a decoration, and to provide instructions and paper to the families
and the patients for folding their own.  That way, everyone whose lives
had been touched by the wonderful work the people in the hospice do
could leave a part of themselves there for the future.

-dahlia

(ps.  MJ...thought you'd be interested in this too.)





From: Douglas Zander <dzander@SOLARIA.SOL.NET>
Date: Mon, 15 Jun 1998 20:41:44 -0500 (
Subject: Re: NO: DON'T RESEND YOUR MESSAGES! Explaination???

 Here is what is happening I believe, Joseph, correct me if I am wrong.
 Some of you don't understand what is happening.

 When you send a message to the origami-l it gets sent out to everyone on
 the list.  Many, many copies are made, one for each person on the list.
 Now what happens is that one of those subscribers to the origami list has
 a bad email address or, for some reason, the copy going to a particular
 person doesn't reach him/her.  That copy fails to arrive to that particular
 subscriber.  It gets sent back to the central origami-l as an error
 message.  Now what is confusing a lot of people is this: that error message
 gets sent on to the original person who posted that message.  (this may not
 be exactly correct, the error message may get sent directly to the original
 poster instead of going through the central origami-l server.)  As it turns
 out the message was recieved by everyone on the list!  Then the original
 sender who wrote the message gets an error and thinks that it meant it
 never got to the other subscribers; IT DID!  :-)

 I will no doubt get an error message also.  Someone on this list has a bad
 address.  But I know that everyone else will get this message and I will
 not need to send it out again and again...,





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Mon, 15 Jun 1998 21:37:00 +0100
Subject: Freising bash

Just back from an extraordinary week in Freising at the origami
Deutschland convention. Too tired for a long report (Matt "it looks good
but flies badly" Maul & David Lister will doubtless write one!) but
imagine a room with Joisel, Kasahara, Yenn, Floderer, Montroll, Forcher,
Brill, Smith, Lister, Baschetto, Van Goubergen (the list goes on) in
it!!

Highlight for me was when we released 100 red balloons for Lillain's
"birthday", each with a little model tied to it. The prospect of these
spreading round Europe & landing in a garden far away was enchanting.

<NAG>One or two messages with loads quote & little reply - please think
of our phone bills here in Great Britainland & cut those quotes
down!!</NAG>

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!





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 15 Jun 1998 13:45:20 -0700
Subject: Re: NO: DON'T RESEND YOUR MESSAGES! (was Re: origami to the rescue)

At 04:42 PM 98/06/15 -0400, you wrote:
>This is good to hear...so even though we are signed up to get confirmation
>of our posts being returned from the listserv as regular mail we shouldn't
>worry that they aren't being processed.  For example, last week you made
>some wonderful and helpful commments on the katana and I responded to the
>list...I never recieved an error message from the listserv but I also never
>saw my response posted on the list.  Should I worry?  Perhaps no response
>was necessary to the answering post.  How can I tell the difference if my
>posts are not returned as part of the regular list mail?

If that happens, check the archives to see if they made it (it might little
bit of time before they actually appear on the archives). If not, then let
me know and I can look into it.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Jaelle <jaelle1@SWBELL.NET>
Date: Mon, 15 Jun 1998 15:46:46 -0500
Subject: Re: NO: DON'T RESEND YOUR MESSAGES! (was Re: origami to the rescue)
Not sure if this will get thru or not. The server error I get sent back to me
is Origiami.MIT.EDU

I have only seen one posting of mine get thru.

I seldom post here so it is not a large problem for me. But it may be to
others who post regularly.

Sorry If this is just being redundant. But as I am not sure which server you
mean that is having the problem I thought I would let you know which one *I*
am having the problem with.

Jaelle

Joseph Wu wrote:

> At 07:12 PM 98/06/15 +0200, you wrote:
> >All the messages I tried to send to the list I also got returned. The
> >weird thing is that the message did make it to the list, since I got a
> >copy of it in my mailbox and people have replied to it.
>
> That's what I mean. All messages are making it to the list. They are just
> not reaching one server, and that server is causing all sorts of trouble
> with these error messages. Just ignore them.
> ----------------------------------------------------------------
> Joseph Wu, Origami Artist and Multimedia Producer
> t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Jane Rosemarin <jfrmpls@SPACESTAR.NET>
Date: Mon, 15 Jun 1998 16:07:15 +0100
Subject: Re: Paul Jackson's Complete Origami Course

Another way to find a book:

The OUSA newsletter, The Paper, has a book exchange feature. Send a
letter to Origami USA, 15 W. 77th Street, New York, NY 10024, Att: Book
Exchange. You should also send a SASE so they can forward any offers to
you.

This may not be fast enough for replacing a lost library book, but it's
one more idea.

-Jane





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Tue, 16 Jun 1998 10:01:52 -1000
Subject: Sellers' point of view

June 15, 1998
Jan Tanaka Fodor
367-E Kapaloala Place
Honolulu, Hawaii 96813

Mr. Akira Yoshizawa
International Origami Center
P.O. Box 3, Ogikubo Tokyo
167 Japan

Dear Yoshizawa-san,
        I am sorry it took so long for you to get my letter.  It is the address
given in the address list for the last OUSA convention.
        I am very disappointed that you do not want me to fold your butterflies
and frog any more.  I feel that you must think that I dishonor the
origami tradition in some way to make them for profit.  It is my income
since I retired from teaching.  I am the only person in the state of
Hawaii whose whole business is making origami jewelry.  I thought of
doing it when I realized I would not have any retirement benefits from
my 27 years of teaching school.  When you move from one state to another
in the U.S., your retirement benefits do not follow you.  I have always
loved origami and taught it to my students as a teacher.  I think I
taught not only how to do origami but to love origami and to respect
those who created it.  I try to do that now as I expose origami to all
the tourist and everyone who come to my craft fair booth.   I still
teach willingly to anyone who wants to learn any models that I display
and I tell them the names of the creators, the names of the books and
where they can buy the books.  People come and marvel that such
wonderful things are done with origami.  When I make my origami jewelry,
it is worn and enjoyed by many thousands of people because it goes to
work, to church, to many places rather than just sitting home on the
shelf where most origami is left.
        My origami is not just about making money.  Last year I went to 48
craftfairs.  The people who came and enjoyed your butterflies and frog
and all the other origami I did were babies, children, grandfathers,
grandmothers and parents.  They were people who used to do origami when
they were children; they were the people who have tried to do origami
and who had a very difficult time or were not as successful as I was.
They were Japanese, Hawaiian, and mostly Hakujin people from the U.S.
and different parts of the world.  They were people I would never have
met except in the setting of a store.  We talked about origami and I
taught whatever I could about origami just standing there.  One black
lady came back and spent the next day folding with me .   I especially
talk to the children and ask them if they are fellow folders.  I
encourage the parents to have the children do a lot of folding because
it helps their brain to train for other things and because the children
love to fold.  One little boy was five when I first met him, I tutored
him for many hours. He is now seven and still folding.  Even the babies
in their mothers' arms shout out "butterfly", "frogs", and "turtles"!
And the mothers say, "See, it's all made from paper".
        It is with great joy that I make origami as a living because now I fold
all day and all night for hours and hours.  My husband cleans the house
and does the cooking.  I fold not just as a hobby and it is important to
us.  It gives me a chance to share origami with many people, not just
those who buy from me.  Many people have said to me that we are the best
booth in the entire craftfair.  They never knew that origami could be so
wonderful.
        When I wrote to thank the creators for the origami models I used, I did
not ask their permission to use their origami because I know that I am
not legally bound to ask permission first.  It was not common sense to
me to ask permission first because I thought like many other "how to"
books, the authors in publishing their models automatically gave
permission to do it.  Otherwise why be so free in publishing for the
world to see?  In the craftfair world especially, we all look for
"recipes" to make things and do our best to make it well enough so
people will buy them.  Perhaps I was naive to think this but I did not
realize the debt we owed to the creators until I "talked" to people on
the Internet about origami.  I wrote to the creators then because I was
grateful for their models that so many people wished to buy.
        I searched many books and tried many models and yours were the best.
Now I must find something less than best because frogs and butterflies
are much loved.  If I knew your butterfly was the logo (mark) of the
International Origami Society, I would even have advertised it  because
it would have given it the added credit of honor it deserves.  It is
regretful that you are saddened by my selling your models because people
do not buy them because they are "inexpensive" or to support me in my
livelihood.  They buy them for their beauty, their love of nature, for
the wonder of creativity, that something so beautiful can be made from a
piece of paper.  They buy them as gifts to share this beauty with
others.  They even come back to tell me how much their gift was
appreciated and to buy even more origami jewelry.  I do take liberties
in gluing and lacquering, so when the models are used and handled as
brooches or earrings they will not unfold or perish in the rain.  I make
them so they last at least ten years if they are cared for.  I love
beautiful washi and origami and know this jewelry that I make will not
be thrown away in a year or two.
        I am glad all creators do not feel as you do because then the thousands
of people I sell to and share with would be denied the joy of origami.
I know that you go to many conventions and is very sought after for your
contributions, love and dedication to origami, but I cannot create as
you do and share only in my own way.  You may not realize it but we both
spread origami and we both make people happy.  There are many people who
cannot fold for themselves that still enjoy origami and I know I serve
them well.
        I am sending you samples of what I do, praying that you will reconsider
your wish that I stop folding your models.  If my folding is not up to
your acceptable standards, of course I understandably must change.  If
you still maintain your position that I should not fold your models to
sell, I will respect your wishes and stop.  I will find another frog and
other butterflies but my heart too will be saddened that the master
himself has made this request of me.  I truly love your models and to
fold others will never be the same.
        My sincere apologies for the sadness and inconvenience I have caused
you.

Respectfully yours,

Jan Tanaka Fodor

I thought I would stick my neck out again and share with you all
"seller's point of view" in response to a letter written to Master
Yoshizawa.  He answered a letter I wrote to him informing him that I was
using 2 of his butterfly models and his frog model.  You can guess from
the letter that he was upset and wished me to discontinue.
        I do not yet have his response to this letter and I do not have his
permission to print his first letter so you will have to fill in the
gaps.  I hope in sharing this with you all, I might gain some ground for
those of us out there who share our origami by selling...that we are not
totally mercenary.
        I am thankful to the Origami list contributors who have broadened my
outlook to the origami world.  I hope the other creators I have to turn
to will look more kindly toward us.

Aloha, Jan

P.S. I apologize for the length of this posting.

--
<http://www.gotomymall.com/hawaii/origami/>
Origami by Jan website...the Fodor folder





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: Tue, 16 Jun 1998 10:07:06 -0500
Subject: Re: Help finding Daedelus on the web

Check the South American or other Spanish speaking sections on Joseph
Wu's website there is a link to the correct page there.  Expect to do
some digging tho.

B R E T T

                -----Original Message-----
                From:   Corders [mailto:jlk@DOITNOW.COM]
                Sent:   Tuesday, June 16, 1998 12:22 AM
                To:     ORIGAMI@MITVMA.MIT.EDU
                Subject:        Help finding Daedelus on the web

                Hi all:

                I've been a lurker for a long time, and have really
enjoyed the information
                that I've received from the origami digest.  I'm not
sure if I'm sending
                this email to the right address.  If I'm mistaken,
please forgive me.

                I recently saw on the web a display that included a
heart with a cross and
                two beautiful human angel-looking figures.  The figures
were described as
                "daedelus" by Gabriel Alvarez.  Could someone please
tell me if I can find
                the diagrams for this model on the web?  If not, where
could I find them in
                an "in-print" book?

                Thanks in advance for any help.

                Jim





From: Howard Portugal <howardp@FAST.NET>
Date: Tue, 16 Jun 1998 12:17:16 -0400
Subject: Industry Standard Paper Sizes

This has probably been stated before, but just for the record:
Page Formats: The standardized sizes used across the the industry:

Format    Inches   Metric (mm)
A3     11.69 x 16.54 297 x 420
A4     8.25 x 11.75 210 x 297
A5     5.83 x 8.25  148 x 210
B5     6.93 x 9.84  176 x 250
Executive (Monarch) 7.25 x 10.5  184 x 267
Legal    8.5 x 14  216 x 356
Letter    8.5 x 11  216 x 279
Magazine - Broad 10 x 12   254 x 305
Magazine - Narrow 8.125 x 10.875 206 x 276
Magazine - Standard 8.375 x 10.875 213 x 276
Magazine - Wide  9 x 10.875  229 x 276
Periodical   10.25 x 13  260 x 330
Tabloid    11 x 17   279 x 432

--
Howard Portugal, West Chester, PA email:howardp@fast.net
---------------------------------------------------
"A problem worthy of attack, proves its worth by fighting back."
Author Unknown





From: David Foulds <fe320473@CR10M.STAFFS.AC.UK>
Date: Tue, 16 Jun 1998 13:26:00 +0100
Subject: Re: Help finding Daedelus on the web

On Mon, 15 Jun 1998, Corders wrote:

> Hi all:
>
> I've been a lurker for a long time, and have really enjoyed the information
> that I've received from the origami digest.  I'm not sure if I'm sending
> this email to the right address.  If I'm mistaken, please forgive me.
>
> I recently saw on the web a display that included a heart with a cross and
> two beautiful human angel-looking figures.  The figures were described as
> "daedelus" by Gabriel Alvarez.  Could someone please tell me if I can find
> the diagrams for this model on the web?  If not, where could I find them in
> an "in-print" book?
>
> Thanks in advance for any help.
>
> Jim
>

The diagrams for the Daedalus model are available at the official
page of the Grupo Zaragozana de Papiroflexia.  Their address is

    http://www.geocities.com/Paris/LeftBank/4091/

and the page with the Daedalus model on it is

    http://www.geocities.com/Paris/LeftBank/4091/desa01.html

Dave

--
David M Foulds
dmfoulds@bigfoot.com
fe320473@stmail.staffs.ac.uk
http://www.bigfoot.com/~dmfoulds





From: "James B. Raasch" <jbraas01@STARBASE.SPD.LOUISVILLE.EDU>
Date: Tue, 16 Jun 1998 14:01:04 -0400
Subject: Re: money origami for wedding/graduation

<snip>
(referring to The Last Waltz...)
> That model is not a money fold, but it will be reprinted in the next Annual
> Collection (OrigamiUSA), which is heading to the printer as we speak.

Any ideas when I might be able to get my hands on that one?  Thanks.

J.B. Raasch





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 16 Jun 1998 14:22:13 -0700
Subject: Re: Sellers' point of view

At 10:01 AM 98/06/16 -1000, you wrote:
>        I am very disappointed that you do not want me to fold your
butterflies
>and frog any more.  I feel that you must think that I dishonor the
>origami tradition in some way to make them for profit.

That is not the point. Yoshizawa views his designs as his children (he has
not children of his own). In his words (paraphrased), "one does not sell
one's children."

>        I am glad all creators do not feel as you do because then the
thousands
>of people I sell to and share with would be denied the joy of origami.
>I know that you go to many conventions and is very sought after for your
>contributions, love and dedication to origami, but I cannot create as
>you do and share only in my own way.  You may not realize it but we both
>spread origami and we both make people happy.  There are many people who
>cannot fold for themselves that still enjoy origami and I know I serve
>them well.

And I am glad that you are gracious enough to accede to Yoshizawa's wishes
in this matter. What gets me are those people who feel that designers owe
it to them to diagram and share models with them.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Boseditor@AOL.COM
Date: Tue, 16 Jun 1998 15:07:53 -0400 (
Subject: Origami discourse research

I found this message fascinating, Nicola. Thanks.

Just want to comment on your first point 3. Here it is

<<3. *Precision* The existing system of lines an arrows is effective because
it's _not_ precise. Sure, mountain and valley folds are fairly
straightforward, but there's fat hollow arrow which can be used to mean
"inflate", "squash", or "open out layers" - related in practice but very
different in terms of coding for a computer.>>

My own adventures with diagramming have led me to believe that you are dead
right about the meaning of symbols not being precise. Quite often diagramming
can become almost a creative activity in it's own right. I find I often end up
using familiar symbols in an unfamiliar way - perhaps because it's better to
re-interpret an existing symbol than to create a new one from scratch and then
have to explain what it means!

Not sure you are right about mountain and valley folds being straightforward
though. I believe these terms originate with Yoshizawa and you may recall that
he believes folding should always be done in the air. It seems quite
acceptable to think of folds in terms of mountains and valleys in this context
- but as soon as you start folding on a flat surface the terms become
meaningless. This is because when you fold in the air you can:

1, move both parts of the paper at the same time

2, orientate the model appropriately

but when you fold on a surface one part of the model is normally held in place
while the other rotates around the axis of the fold - either towards you or
away from you - and there's nothing remotely valley or mountainlike about
either of these operations.

Oddly, though, almost all diagrammers who use the terms mountain and valley
fold - including Yoshizawa - draw their diagrams as if the model was being
folded on a surface!

Ain't life odd ....

Dave Mitchell





From: Ariel <ariel@DATAPHONE.SE>
Date: Tue, 16 Jun 1998 15:48:59 +0200
Subject: Re: Help finding Daedelus on the web

This is the address where you can find Alvarez's version:

http://www.geocities.com/Paris/LeftBank/4091/desa01.html

cheers

Ariel/

-----Original Message-----
Date: Tuesday, June 16, 1998 1:28 PM

>Hi all:
>
>I've been a lurker for a long time, and have really enjoyed the information
>that I've received from the origami digest.  I'm not sure if I'm sending
>this email to the right address.  If I'm mistaken, please forgive me.
>
>I recently saw on the web a display that included a heart with a cross and
>two beautiful human angel-looking figures.  The figures were described as
>"daedelus" by Gabriel Alvarez.  Could someone please tell me if I can find
>the diagrams for this model on the web?  If not, where could I find them in
>an "in-print" book?
>
>Thanks in advance for any help.
>
>Jim





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Tue, 16 Jun 1998 15:50:43 -1000
Subject: Re: Sellers' point of view

Joseph Wu wrote:
>
> At 10:01 AM 98/06/16 -1000, you wrote:
> >        I am very disappointed that you do not want me to fold your
> butterflies
> >and frog any more.  I feel that you must think that I dishonor the
> >origami tradition in some way to make them for profit.
>
> That is not the point. Yoshizawa views his designs as his children (he has
> not children of his own). In his words (paraphrased), "one does not sell
> one's children."
>
Joseph,
        I'm not sure I understand the analogy.  Is it a reverence to the
creative process and end product that he adheres to?  I know his
religion is an intricate part of his origami but I don't understand the
concepts involved.  I can understand if his ego is so strong that he
views his works as totally in his control.  The "master concept"  I am
somewhat acquainted with but when you say he "views them as his
children",  it is difficult that one would "humanize" his models,
especially since he is so prolific in the production of his works.  I
know I am missing a lot of what he is thinking and believing and would
dearly like to know what it is.  One can not but respect his wishes as
his genius is irrefutable but other (origami) geniuses have no problem
with being in the real world.  What are the expectations he has of those
who fold his models?
        I really appreciate your taking time to interpret some of his views.
Yes, I can change something in his designs and call them my own and I
suspect that I have already done minor changes simply because folding
them so small require some shortening of design to accomodate the size.
But in my heart I know that he is the creator and to defy his wishes
would be to deny the spirit of origami.  I know too that my models will
never satisfy him...just making them into jewelry lowers the standards
in the eyes of purists but origami is also in the history of its
development an art for the common people.  I don't feel it compromises
the essence of origami to glue and lacquer them into a wearable art.  I
think it even makes origami more endearing to the common folk.  At least
many of my customers give me that impression.
        Perhaps it rude of me to want to discuss Yoshizawa san on the internet
but I felt of all the creators he would be the most difficult to
understand and yet the realm of origami as we know it almost starts with
him.  We have an opportunity to become aware of the living history of
origami and I would to understand.  I am irrelavent to this history I
know but even getting a negative letter from him was awesome.
        I respect your knowledge and intimacy with the creative ones Joseph and
will abide by your enlightenment regarding this discussion on
Yoshizawa.          Aloha, Jan

--
<http://www.gotomymall.com/hawaii/origami/>
Origami by Jan website...the Fodor folder





From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Tue, 16 Jun 1998 15:54:05 -0400
Subject: Re: money origami for wedding/graduation

At 02:01 PM 6/16/98 -0400, : "James B. Raasch"
<jbraas01@STARBASE.SPD.LOUISVILLE.EDU>  wrote:

>(referring to The Last Waltz...)
>> That model is not a money fold, but it will be reprinted in the next Annual
>> Collection (OrigamiUSA), which is heading to the printer as we speak.
>
>Any ideas when I might be able to get my hands on that one?  Thanks.

The OrigamiUSA Convention is on June 26th, so attendees can receive theirs
then. People who ordered the "Sorry I Can Not Attend" kits, should receive
theirs a few weeks afterwards. Of course, this anthology will be for sale
through The Source (www.origami-usa.org) until supplies run out.

Marc





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 16 Jun 1998 16:01:55 -0700
Subject: Re: Sellers' point of view

At 06:56 PM 98/06/16 -0400, you wrote:
>> That is not the point. Yoshizawa views his designs as his children (he has
>> not children of his own). In his words (paraphrased), "one does not sell
>> one's children."
>
>With no disrespect to the master intended, but in the tradition of
>Talmudic and Platonic debate, isn't Yoshizawa selling his children by
>publishing them and making a profit?   And what about his publisher
>making a profit?

Apparently, he makes a distinction between the models themselves and the
diagrams for the models. I can't be sure about this since I've not asked
him. I can only infer. Yoshizawa views himself as a vessel of whatever
spirits transport him into that state in which he can fold his
masterpieces. Thus the works themselves have more significance to him than
the works of other folders have to them. Perhaps the diagrams are less
significant somehow.

To come back to a more mundane level, Yoshizawa cannot afford to give away
his diagrams. He must at least recover the costs of reproduction. Hence the
publication of books. That way, the buyer pays for the diagrams, and the
diagrams can be packaged in a form that is beautiful and captivating (the
book), and colour photos can be included. I would expect that the main
motivation of publication is that. We have already discussed many times on
this list how little profit can be made in publishing origami books. I
wouldn't really say that Yoshizawa is really making anything substantial
from them.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 16 Jun 1998 17:15:26 -0700
Subject: Re: money origami for wedding/graduation

On Tue, 16 Jun 1998, James B. Raasch wrote:

> <snip>
> (referring to The Last Waltz...)
> > That model is not a money fold, but it will be reprinted in the next Annual
> > Collection (OrigamiUSA), which is heading to the printer as we speak.

What???  The Last Waltz is not a money fold?  Why didn't someone tell me?
I've done several of them out of single dollar bills.  Hmmm....I guess
I've been doing it all wrong, even though they seem to come out pretty
well.

Allen Parry
parry@eskimo.com





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 16 Jun 1998 17:29:39 -0700
Subject: Re: money origami for wedding/graduation

On Mon, 15 Jun 1998, Doug Philips wrote:

> I suppose you could do one out of larger paper and use a simple $ rosette as a
> boutoniere or a few of them as a corsage....

Have you seen the rose's Vern (in NY) does out of two dollar
bills....they're really beautiful.  I think he is using Roz Joyce's design
with is in one of the convention annuals.  At one time I could get them
commercially....but I think the people who did them are out of business.

Allen Parry
parry@eskimo.com





From: Edith Kort <ekort@MCLS.ROCHESTER.LIB.NY.US>
Date: Tue, 16 Jun 1998 18:56:47 -0400
Subject: Re: Sellers' point of view

> That is not the point. Yoshizawa views his designs as his children (he has
> not children of his own). In his words (paraphrased), "one does not sell
> one's children."

With no disrespect to the master intended, but in the tradition of
Talmudic and Platonic debate, isn't Yoshizawa selling his children by
publishing them and making a profit?   And what about his publisher
making a profit?

EMK





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 16 Jun 1998 19:04:12 -0700
Subject: Favorite Dollar Bill Folds

> I don't recall if this topic has come up recently or not, so I'll ask:
> Does anyone have any good money folds for wedding or graduation gifts.
> Over the next couple weeks, I have these events coming up and thought
> a nice money fold would be a unique gift, but I don't know what I can
> make for these occasions.  Ideas (and diagrams) would be a great help.
------------------------------------------------------------------------
I'm sorry to respond to this thread so many times, but I consider myself
Mr. Money Fold when it comes to origami....I have over 200 different
things I make out of money (and I am not counting the simple stuff like
bow ties and rings). ....so I have to put in my 2 cents worth times 50.

Gift Ideas, that are good, yet easy to come by (well some, maybe not)....

1) Many of the Fuse boxes can be adapted to dollar bills and make some
very nice boxes for putting something special (more personal) into.

2) I am a big fan of Steven Weiss' works which can be found in past
convention annuals....I think the 1988 and 1989 issues were probably my
favorite for dollar bill folds....and these annuals are probably the BEST
source of quality dollar bill folds.  Of Steven's work, I think I like his
cat the best (and I think that is going to be in this years annual).  Is
that right Marc K.?

3)  There is also been the latest BIG hit in dollar bill folds....Herman
Lau of the San Francisco area has a unique approach to the Dahlia design
where he puts it into a flower pot.  So far I know this has spread to some
areas....one of them being New York.

4) Phillip Yee has an incredible tree frog, that I finally got him to
teach me.  This fold can look very detailed and life like by a good
origami artist (like Phillip).  It has toes, and eyes.....and its green.

5) As I mentioned before, the Last Waltz is very do-able in a dollar.
And, no it is not too fat.  You should be skilled in pleat folding (which
I claim is a technique that requires skill).  You'll have to fold the bill
into 16ths by 32nds...very straight and percise pleats.  When making your
pleats, make sure you alternate in directions.  Do halves length wise,
unfold, then halves short wise. Then unfold.  Then fold into quarters
lengthwise. Then unfold.  Then fold quarters short wise.  Then unfold.
....etc.  (I just did a design with a dollar where it was pleated 32 x 64
.... time consuming, it was.

6) Another dollar design, I really enjoy, also is in one of the past
Convention annuals.....the dollar bill airplane by J.F.K. (I can't
remember his full name)  This is a very nice design.  It is an airplane of
the 1940 vintage....even with a four blade propeller.

7) An easy model, that I get a lot of enthusiasm for, and I find very easy
got from one of my favorite books, Brilliant Origami by David Brill.  I
adapted this one, also, to a dollar bill.....which isn't too hard to do.

Well, these are my favorite, that I can think of off the top of my head.
Happy folding.

Oh, I need to do a plug.  I just had a call from Jan Polish.  It looks
like I'll be teaching my class again this year on "How to design dollar
bill folds" for those of you who are coming to the convention.  I give you
the basic tools and techniques to come up with your own models.  I'll show
you how to get the eyes on your animals using the dollar bill's features,
how to create legs and bodies. I'll also show you the power of box
pleating.  (I was going to say, "on the fly"... but I have never
accomplished a "fly" yet .... maybe I can come up with one before
convention.)

Allen Parry
parry@eskimo.com





From: Nicola Yap <neyap@WATARTS.UWATERLOO.CA>
Date: Tue, 16 Jun 1998 19:53:27 -0400
Subject: Re: origami discourse

Hi,

I'm glad there's some interest in my work. Would you guys be interested in
seeing the final product at the end of the summer?

Replies to some of the comments so far:

--Karen--
You're right, there's a difference between diagramming during the
"creative" process and documentation for others. I'm focusing on the latter
for my paper, but I would be interested in knowing if there are significant
differences in the kind of information you record (or don't record) for the
two genres.

I didn't think of similes - good point! Come to think of it, metaphorical
language is used not only for comparison, but to indicate parts of the
model as you're folding (e.g., "rabbit-ear the legs" instead of "rabbit-ear
points A and B")

>Will you be at the OUSA convention?
Love to, but

--Rona--
Do you have an abstract of the "Origami as a Programming Language" that I
could look at? (if yes, send directly to my email address)

--Dave--
Interesting observations about "mountain" and "valley" concepts in relation
to folding practice.

More about precision - What I find fascinating about origami diagram
conventions is the way they parallel the flexibility of textual
communication. Granted, there are certain understood meanings (e.g. arrows
usu. indication movement or direction), but I think the perception of
simple "symbol=this action" relationships can really influence the way
researchers approach the field and they way people write documentation.

I guess I should add that my whole line of thinking is itself influenced by
my academic background. The "sciences" (I include math here) tend to take
things apart, categorize, create objective, logical relationships, reduce
phenomena to theories, principles, code. I'm working in the area that likes
looking for subjective thinking, blurring categories, and generally
creating confusion. Or at least it seems that way sometimes...Anyway,
there's so much math-origami research out there, I think the field needs a
shot in the arm from the Arts.

Keep the ideas coming!
Nicola





From: "R. Sutherland." <RGS467@AOL.COM>
Date: Tue, 16 Jun 1998 20:20:19 -0400 (
Subject: Origami_talk: Last Minute Reminder

Greetings Fellow Folders:

The next scheduled chat is TONIGHT, Tuesday, June 16, at 9PM (EST).
@ the Village:  http://www.the-village.com/origami/talk.html

Here is the link:    <A HREF="http://www.the-village.com/origami/talk.html">
Origami Talk</A>

Everyone is welcome to join us!

     Russell : \
RGS467@AOL.com

DARE TO FOLD!!!





From: Barbra0336@AOL.COM
Date: Tue, 16 Jun 1998 21:34:33 -0400 (
Subject: Re: Sellers' point of view

Origami is now such a vibrant craft and one that is reaching people of all
ages.
Regarding the difference between the point of view of the seller and the
designer,  it seems clear that the designer is not obligated to either diagram
or share models with others.  But the designer needs to clearly decide what
path the model will take.  Often on this list it appears that some designers
are unhappy that their models are being reproduced or that they feel pressured
to diagram them..
If diagrams and/or directions are published it must be assumed they are for
public use and will be used as "how-to" books.  If a designer does not wish to
have the models made and sold by a crafter then perhaps a statement to that
effect should appear in the book as some of the craft painters do.  They state
that the designs may be used for personal use only and not for sale purposes.
Designers, be happy that an item of yours is being sold as that crafter will
always be ready and waiting to buy your next book.
It would be sad to see a chasm develop between designers and the masses of
folders.  Both groups need each other, each in a unique way.
(I am not a seller of origami but used to sell other crafts.)  Barbara





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 16 Jun 1998 21:41:14 -0700
Subject: Re: money origami for wedding/graduation

On Tue, 16 Jun 1998, Rachel Katz wrote:

> Well, anyone who folds dollars like you can do anything with them; but, for
     the
> rest of us - do you wet fold for the dancers?

Only accidently, when I forget, leave them in my pockets, and they go
through the wash.  No, I have never tried wet folding, considering dollars
have a very high content of cotton fiber and when they get wet they lose
their crease.  One person did though suggest soaking them in beer first to
kind of starch them, though I have never tried it.

> Is the result pleasing enough or was it for the challenge that you did
> it?

I have been on this exploration of pleat folding and am trying to figure
out the various things I can do with it.  I do find the technique very
powerful but I personally don't know about its artistry.  I think art is
in the eye of the beholder, especially when it comes to origami....some
will enjoy a model, and others will just shrug it off.  When it comes to
the "Last Waltz" in a dollar, I am not that impressed..... but I have,
though, had a couple of people go crazy over the model and have bribed me
for a copy.

Allen Parry
parry@eskimo.com





From: Rob Moes <robert.moes@SNET.NET>
Date: Tue, 16 Jun 1998 22:33:55 -0400
Subject: Re: Sellers' point of view

Edith, in reply to Joseph:

>> That is not the point. Yoshizawa views his designs as his children (he has
>> not children of his own). In his words (paraphrased), "one does not sell
>> one's children."
>
>With no disrespect to the master intended, but in the tradition of
>Talmudic and Platonic debate, isn't Yoshizawa selling his children by
>publishing them and making a profit?   And what about his publisher
>making a profit?

No, apparently he sells only the runts of the litter....

His truly beloved children will never leave his side and shall surely be
buried along with him when he passes on.  Such is the life of the pharaoh
of origami.

>>What gets me are those people who feel that designers owe
>>it to them to diagram and share models with them.

I can only say that I am grateful that most composers of music are willing
to make sheet music available to musicians around the world, so that live
first-hand appreciation of the art form is possible.  Recall that Mozart,
Beethoven, and Tchaikovsky are nothing more than dust in today's world, but
their "children" have been allowed to live on, through the hands and
fingers of others.

And surely we do not demand that musicians create their own offspring in
order to make a living or reach out to the people of the world.  Perhaps
Mr. Yoshizawa has listened only to music played directly in his home by its
composer, with no money offered or expected in return.

Rob
robert.moes@snet.net





From: Rachel Katz <mandrk@PB.NET>
Date: Tue, 16 Jun 1998 23:38:34 +0000
Subject: Re: money origami for wedding/graduation
Priority: normal

> What???  The Last Waltz is not a money fold?  Why didn't someone tell me?
> I've done several of them out of single dollar bills.  Hmmm....I guess
> I've been doing it all wrong, even though they seem to come out pretty
> well.
>
> Allen Parry
> parry@eskimo.com
>
Well, anyone who folds dollars like you can do anything with them; but, for the
rest of us - do you wet fold for the dancers? Is the result pleasing enough or
was it for the challenge that you did it?

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





From: Jim Alexander <jalex@MIDMAINE.COM>
Date: Tue, 16 Jun 1998 23:55:26 -0400
Subject: Re: Sellers' point of view
Importance: Normal

   Interesting how Mr. Yoshizawa's supreme egotism can be interpreted as
some kind of laudable,arcane spirituality!A very overated paperfolder and a
very small man!The analogy with children is superbly trite,however, to quote
Kahlil Gibran:
You may give them your love but not your thoughts,
For they have their own thoughts.
You may house their bodies but not their souls,
For their souls dwell in the house of tomorrow,which you cannot visit,not
even in your dreams.
You may strive to be like them,but seek not to make them like you.
For life goes not backward nor tarries with yesterday.
You are the bows from which your children as living arrows are sent forth.
The archer sees the mark upon the path of the infinite,and He bends you with
his might that His arrows may go swift and far.
Let your bending in the Archer,s hand be for gladness;
For even as He loves the arrow that flies,so He loves also the bow that is
stable.

     Tomorrow I shall take the Yoshizawa books from my shelves and donate
them to my local children,s library.They shall go where they belong:in the
beginner,s section.I outgrew them long ago. Any objections,Mr Yoshizawa?
                        Jim Alexander





From: Doug Philips <dwp@TRANSARC.COM>
Date: Wed, 17 Jun 1998 00:49:55 -0400
Subject: Re: Sellers' point of view

On Tue, 16 Jun 1998, Joseph Wu wrote:
+diagrams for the models. I can't be sure about this since I've not asked
+him. I can only infer.

I think we are on thin ice here, and I'm not at all sure that the concepts and
ideals have any direct or perhaps even understandable correspondences between
East and West.  Not that we shouldn't try, but the second handed nature of
this means that there is even more room for misinterpretation and
misunderstanding.

+this list how little profit can be made in publishing origami books. I
+wouldn't really say that Yoshizawa is really making anything substantial
+from them.

As you said.

I don't know Yoshizawa as you do, and I am not privy to the letter he sent to
Jan Fodor.  Another guess is simply that he does not wish others to sell his
models.  Whether or not this is spelt out in his books, I cannot say, for I
cannot read Japanese.  Assuming even that he wished that to be expressed in
the books, it is not clear that the publisher/editor would have left that in,
esp. in his first books when his status, even in the origami world, was less
well known.

I applaud Jan for asking.  I can understand her disappointment and wanting to
understand, I'm just not sure there is really any way for an understanding to
occur (which is also frustrating).  I am none the less glad she is willing to
go along with his wishes.

-D'gou





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Wed, 17 Jun 1998 08:18:50 -0700 (
Subject: sellers point of view

I represent a new Origami author who has very definite ideas on all
aspects of our art/hobby/craft and can't wait until she has a chance to
express herself!!
   This is the 'stuff' other than folding that makes me truly love
Origami.[Should it be ORIGAMI, all in caps???] And I really wish that I
understood most the articles on the math; just so that I could have one
more thing to divert me away from the little time I already have to
fold.
   Thank god that there are those who do understand the mathematical
aspects and still find the time to help a new author; people like Tom
Hull.
          Best to all Mike Kanarek

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From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Wed, 17 Jun 1998 09:35:09 -0400
Subject: Re: Favorite Dollar Bill Folds

At 07:04 PM 6/16/98 -0700, Allen Parry <parry@ESKIMO.COM> wrote:

>2) I am a big fan of Steven Weiss' works which can be found in past
>convention annuals....I think the 1988 and 1989 issues were probably my
>favorite for dollar bill folds....and these annuals are probably the BEST
>source of quality dollar bill folds.  Of Steven's work, I think I like his
>cat the best (and I think that is going to be in this years annual).  Is
>that right Marc K.?

His "Cat" is great, but unfortunatley will not be in the upcomming Annual
Collection. Someone else made diagrams for the model, but they were never
approved by Steven.

>6) Another dollar design, I really enjoy, also is in one of the past
>Convention annuals.....the dollar bill airplane by J.F.K. (I can't
>remember his full name)  This is a very nice design.  It is an airplane of
>the 1940 vintage....even with a four blade propeller.

Waitrowski (or something like that)

Marc
