




From: "L. Hayashi" <lmh@COMPUSMART.AB.CA>
Date: Fri, 03 Jul 1998 16:23:11 -0600
Subject: A special Story

Hi everyone,
A friend sent this to me and I thought some of you might enjoy this.  If this
     has already been
posted please accept my apology in advance.  Hope you all enjoy it.
Lynda
----------
>
> As a teacher of origami (the ancient Japanese art of paper folding) at the
> LaFarge Lifelong Learning Institute in Milwaukee, Wisconsin, Art Beaudry
> was asked to represent the school at an exhibit at a large mall in
> Milwaukee.
>
> He decided to take along a couple hundred folded paper cranes to pass out
> to people who stopped at his booth.
>
> Before that day, however, something strange happened - a voice told him to
> find a piece of gold foil paper and make a gold origami crane.  The strange
> voice was so insistent that Art actually found himself rummaging through
> his collection of origami papers at home until he found one flat, shiny
> piece of gold foil.
>
> "Why am I doing this?" he asked himself.  Art had never worked with the
> shiny gold paper.  It didn't fold as easily or neatly as the crisp
> multicolored papers.  But that little voice kept nudging.  Art harrumphed
> and tired to ignore the voice.  " Why gold foil anyway?  Paper is much
> easier to work with."  He grumbled.
>
> The voice continued "Do it!  And you must give it away tomorrow to a
> special person."
>
> By now Art was getting a little cranky.....
>
> "What special person? he asked the voice.
>
> "You'll know which one." The voice said.
>
> That evening Art very carefully folded and shaped the unforgiving gold foil
> until it became as graceful and delicate as a real crane about to take
> flight.
>
> He packed the exquisite bird in the box along with about 200 colorful paper
> cranes he'd made over the previous few weeks.
>
> The next day at the mall, dozens upon dozens of people stopped by Art's
> booth to ask questions about origami.  He demonstrated the art.  He folded,
> unfolded and refolded.  He explained the intricate details, the need for
> sharp creases.
>
> Then there was a woman standing in front of Art.  The special person.  Art
> had never seen her before, and she hadn't said a word as she watched him
> carefully fold a bright pink piece of paper into a crane with pointed,
> graceful wings.
>
> Art glanced up at her face, and before he knew what he was doing, his hands
> were  down in the big box that contained the supply of paper cranes.  There
> it was, the delicate gold-foil bird he'd labored over the night  before.
> He retrieved it and carefully placed it in the woman's hand.
>
> "I don't know why, but there's a very loud voice inside me telling me I'm
> supposed to give you this golden crane.  The crane is the ancient symbol of
> peace."  Art said simply.
>
> The woman didn't say a word as she slowly cupped her small hand around the
> fragile bird as if it were alive.  When Art looked up at her face, he saw
> tears filling her eyes, ready to spill out.
>
> Finally the woman took a deep breath and said, "My husband died three weeks
> ago.  This is the first time I've been out.  Today...."she wiped her eyes
> with her free hand, still gently cradling the golden crane with the other.
>
> She spoke very quietly.  " Today is our golden wedding anniversary."
>
> Then this stranger said in a clear voice.  "Thank you for this beautiful
> gift.  Now I know that my husband is at peace.  Don't you see?  That voice
> you heard.  It's the voice of God and this beautiful crane is a gift from Him.
> It's the most wonderful 50th wedding anniversary present I could have
> received.  Thank you for listening to your heart."
>
> And that's how Art learned to listen very carefully when a little voice
> within him tells him to do something he may not understand at the time.





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Fri, 03 Jul 1998 16:27:37 +0200
Subject: Re: Boar by Issei Yoshino

On Thu, 2 Jul 1998, Anne R LaVin wrote:
> Recently Sebastian Kirsch asked about the text accompanying steps
> 66-73 of the Wild Boar in Yoshino's "Super Complex Origami".  I have a
> copy of the book (couldn't resist such a glorious set of models), read
> a little Japanese, and was feeling like a challange, so here goes:

Thanks, Anne! I hope that these remarks will help me to cope marginally
better. I'll report when I've had success.

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





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Fri, 03 Jul 1998 18:37:37 +0200
Subject: Russian wooden dolls one within another

At 02:09 PM 7/1/98 -0400, D'gou wrote:

>[...]
>and those nesting Russian dolls (I can't recall the name at the moment).

They're called 'Mathrioshka'. I'm sure this is NOT the correct spelling of
the word but might yield a better pronunciation for English-speakers.

Peter Budai





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Fri, 03 Jul 1998 18:37:45 +0200
Subject: Re: Name for a type of fold

At 02:14 PM 7/1/98 +0200, JJ Caaaaaaaaaaaaaaasaloooooooooooooonga wrote:

>Why not do what it is done in sports (I'm thinking of artistic skating and
>acrobatics) when  someone creates a new move : name it after the creator's.

Perhaps this could be a good solution. People wouldn't go crazy about what
'internal' petal fold and 'double' swivel fold means and how they are
related with the 'plain' petal and swivel folds. Though, it might be useful
to find out that considering it *structurally*, what would be its name (even
if not called so later).

>        So, this model could be called 'The Montroll's fold'

Let it be! (SOUNDS familiar from somewhere...)

>In fact, while I'm writting this, I realize that John Montroll must have
>created at least one billion new 'folds'.  So, it won't go for john.

Montroll's fold #123billion, 1/3 would go for this (would it?).

>And on second thought, why should we name a fold (or 'move' might be more
>adequate) ?  It seems that it leads to understanding problems between
>folders ("And then, on the right part of the leg, you make a 'shwoop' fold,
>while keeping the 'Zorglub' fold intact ")

Not forgetting 'triple-whourphing' the whole model... :)

Happy folding: Peter Budai

-----------------------------------------------------------------------
Avoid SINKING when folding in a boat!
Or if it's late, try the difficult UNSINK.
And record the latter for the sake of sceptic scientists!

Peter Budai,   peterbud@mail.datatrans.hu





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Fri, 03 Jul 1998 18:37:49 +0200
Subject: Re: Name for a type of fold

Hi All interested,

At 04:06 PM 6/30/98 PDT, Marcia wrote:

>I use the term "internal petal fold" to describe a petal fold that
>is executed on an internal section of the paper ie. a petal fold that
>does not contain the edges of the paper.

Ushhh, yes. The same with me. It seems I mixed up some things.
But thinking it over again, it has something to do with petal fold.
Although, thinking it over once again, it IS an internal petal fold.
I'll look up your models also and think about this.

Pat,

I understand why you wrote 'double swivel fold' (from J.C. Nolan's Creating
Origami). If you imagine to CUT the paper so that the left and right sides
are mirror images of each other with respect to the cut line, you might see
that the left and the right sides are swivel folds. BUT, if you don't cut
that line, it's not only the two swivel fods there, but a plus mountain as
well. So your term 'pinch swivel' is better.

BTW, I used the 'double swivel fold' term at the diagrams for my Money Bill
Ant (called Dollar Bill Ant anno at the '97 OUSA Convention and could be
seen at the Ant Farm organised by Allen Parry) for a swivel fold that
generates another one (looks like a 'remote controlled swivel fold by
another swivel fold').

Happy folding,

Peter Budai





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Fri, 03 Jul 1998 18:40:23 -0700
Subject: convention connection '98

Greetings,
      As a first timer, I was very impressed with this OUSA convention!  I
didn't stay very long or take
any classes, which I regret, but I did enjoy the spectacular exhibit and my
volunteer duty there and at
the model menu and the Gold Mine.  Even better I connected with some
wonderful people.  Two Japanese folders
Kayoko and SY Chen were very kind to me sharing diagrams from their
collection.  I met Peg Barber, Tricia
Tait and Carol Van Ecke and I had a good time talking to them about this
list and about origami jewlery.
Origami enthusiasts and non folders alike were all pretty friendly to me and
that made my visit to NYC all
the more special.  I want to thank Edith, who shared the room with me and
made me feel welcome also.  I'll
definitely go again!  It helped being recognized from this list too!
Ria Sutter





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Fri, 03 Jul 1998 19:03:20 -1000
Subject: Re: Sorry about that

Mike,
        Thank you for sharing that letter.  What a wonderful way to find your
life.  Aloha, Jan





From: Pat Slider <slider@STONECUTTER.COM>
Date: Fri, 03 Jul 1998 19:55:35 -0700
Subject: Re: Name for a type of fold

>Date:    Fri, 3 Jul 1998 18:37:49 +0200
>From:    Peter Budai <peterbud@MAIL.DATATRANS.HU>

>BTW, I used the 'double swivel fold' term at the diagrams for my Money Bill
>Ant (called Dollar Bill Ant anno at the '97 OUSA Convention and could be
>seen at the Ant Farm organised by Allen Parry) for a swivel fold that
>generates another one (looks like a 'remote controlled swivel fold by
>another swivel fold').

Peter,

Now this sounds fun no matter what the term! Did the diagrams make it into
the '97 annual? (Still expecting a few weeks' wait to get my copy.) If not
I hope they turn up in some future book of yours or ???

I fold to swivel :->....

pat slider
slider@stonecutter.com

p.s. Enjoyed folding the monoplane from the "flying" BARF newsletter (2
issues ago?). A great plane!





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Fri, 03 Jul 1998 19:55:44 -0700
Subject: Re: convention connection

Greetings again,
      I normally wouldn't post something to an individual via this list but
if Tricia Tait is lurking
out there on the list this weekend, I really would like it if she would e
mail me about the rose model
we talked about doing together at the convention.  I'm sorry I missed seeing
you later Saturday pm.
Ria Sutter
sutterj@earthlink.com





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Fri, 03 Jul 1998 19:56:38 +0200
Subject: Re: Name for a type of fold

On Wed, 1 Jul 1998, Jean - Jrome Casalonga wrote:
> Why not do what it is done in sports (I'm thinking of artistic skating and
> acrobatics) when  someone creates a new move : name it after the creator's.

There is one instance where this has already been done: The Elias stretch.

>         And on second thought, why should we name a fold (or 'move' might be
     more
> adequate) ?  It seems that it leads to understanding problems between
> folders

If the folds are well-defined, the names even help folders to understand
each other better. For example, when a diagram tells me that I am to "push
this in", this is less clear than "closed-think on this crease". Or how
would you describe a double rabbit-ear only by diagrams? It looks exactly
like a single rabbit-ear in the diagrams, but by using the term "double
rabbit-ear", you can avoid to show a squash-fold and a petal-fold for
every point where you want to perform a double rabbit-ear.

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





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Fri, 03 Jul 1998 20:54:21 +0200
Subject: for Mike Kanarek (please read this, Mike)

Hi Mike,

Peg Barber wrote:

>What I received was a very large file containing mixed dots, symbols,
>letters and numbers.

The same. Unfortunately I couldn't read it.

Mike, Could you send it to MY address as a txt-attachment?

Thank in advance: Peter Budai





From: Maldon7929@AOL.COM
Date: Fri, 03 Jul 1998 21:15:39 -0400 (
Subject: Address for Makoto Yamaguchi?

I would like to ask Yamaguchi-san's permission to use some of one dimensional
model's on greeting cards.  Does anyone on the list know how to contact him?

Appreciate the help,

Maldon





From: Susan Dugan <florafauna@EMAIL.MSN.COM>
Date: Sat, 04 Jul 1998 11:36:18 -0400
Subject: Re: Sorry about that (")

Mike,
Much better, thanks for sharing. Apologies for being LOUD about no
attachments. In the past I have lost $, valuable deadline time, equip., and
sleep from computer viruses. E-mail is safe but attachments are not, AND the
debate about virus, I'm just trying to explain my reaction to your postings.

Aloha, Jan & Paul,
    Sorry I missed you in NY, I hope you had a good time.
Hobbit





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Sat, 04 Jul 1998 18:00:22 +0200
Subject: Re: Interview with Neal Elias

At 06:38 AM 7/3/98 +0200, Sebastian Kirsch wrote:

>Yes, there is a Last Supper -- but from four sheets of paper (one
>rectangle and three squares), not from one sheet.

Yes, that's from four sheets. I forgot to mention... sorry.

>Eric Kenneway mentions in _Complete_Origami_ that Neal Elias wanted (or
maybe >he still wants) to fold the Last Supper from one uncut sheet of paper.

Ah-ha. I didn't know this. I believe it can be made, though might require
some time :)

Yours, Peter





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Sat, 04 Jul 1998 19:09:51 -1000
Subject: Re: Sorry about that (")

Susan Dugan wrote:
>
>
> Aloha, Jan & Paul,
>     Sorry I missed you in NY, I hope you had a good time.
> Hobbit

Hi Susan,  I didn't miss us.  We couldn't go.  Had to change our plans
and go to the mainland in Sept. to meet a new grandbaby.  Have to try
for another convention.  Aloha, Jan
--
<http://www.gotomymall.com/hawaii/origami/>
Origami by Jan website...the Fodor folder





From: Jorma Oksanen <tenu@SCI.FI>
Date: Sat, 04 Jul 1998 19:15:34 +0200
Subject: Teaching in prison

On 03-Jul-98, Mike Kanarek (kanarekorigami@HOTMAIL.COM) wrote:

>...

[A fascinating story clipped. I just couldn't couldn't quote only
parts of it, neither I could quote it all. If you did read it, you
remember it]

>...

I remember reading this article in a BOS magazine (I just checked,
it's BOM 183) and seeing it here made me write about my experiences
about folding with prisoners. I hope you find this interesting. And
please forgive all clumsy english below. This isn't my native tongue.

There was some talk about teaching in prison this spring in origami-l,
and of course I thought "if they can do it, so can I". I contacted a
friend of mine, a teacher who also teaches in prison. Two weeks later
I got a phone call from a person who's in charge of courses for
prisoners. (This might be a good place to mention that I'm male and
the local prison is for females. Who knows, you might find it more
important than I did). The next week we had a meeting and prison
officials decided to put an announcement of an origami course on a
notice-board and see if there were any interested inmates. Less than
two weeks later I got another call. They had selected five prisoners
out of 11 interested ones, and we chose a day for our first lesson.
The deal was to have five or six 80 minute lessons if it seemed to
work ok.

I didn't know what to expect when I went there the first time, so I
decided not to expect anything. What still surprised me was the
easiness with which I got into the prison. It was after visiting hours
after all, but guards didn't bother to check I was who I claimed to
be. neither did they check I wasn't smuggling anything in.

Well, let's get to folding. Only four of five prisoners were present.
After getting to know each other's names and the basics ("accuracy is
the word" and "this isn't a speed contest" is pretty much everything I
find necessary to say before folding) we folded Kashara's tulip and
several other simple models, same time learning how to read diagrams.
Too soon the time was up and we had to stop. I gave my example models
to guards (who by the way wasn't in the room while we folded. I guess
they were somewhere nearby tho) to lighten up their room.

The next day I got another call from prison and heard that prisoners
had liked the lesson and we agreed on the next lessons. Those all went
without any incidents. Unfortunately one of the prisoners lost
interest and didn't show up after the firt time, but there were two
who were there every time. It was with them we folded Kasahara's rose
achivement thinking we only had three lessons before that. Having only
two people to teach of course helped a lot, but anyway...

We folded mostly what the prisoners wanted, which was for most of the
time different decorations. We came along just fine, talking about
life, universe and everything (not about Douglas Adams, thought :).

There's a possibility of another course, and I asked the prisoners if
they'd be willing to fold something for an one-day fair in August.
They were reluctant, saying they aren't good enough (which I
truthfully told isn't true) but I'll call the prison official at the
end of this month to check if they have changed their minds.

I heard from some people who had visited prison earlier that they felt
uneasy there, but I didn't notice anything. I think it was because I
was doing one of the things I like most: not just folding, but
teaching how to fold. I actually miss being in prison!

If you have a change to teach origami in prison, have a try. You might
like it.

[Mike, have you been in touch with the prison? Do the inmates still
fold paper there, and have new folders joined?]

Bye for now,
--
Jorma Oksanen   tenu@sci.fi





From: =?iso-8859-1?B?VEhPUktJTEQgU9hOREVSR8VSRA==?= <thokiyenn@GET2NET.DK>
Date: Sat, 04 Jul 1998 22:42:25 +0200
Subject: Kalmon reporting on Freising Convention

This was written for - der falter-  but couldnt resist it, I had to list it.

plico ergo sum.

 This is Kalmon reporting. Some of you may consider me to be only a drawing
But I am more than that, I am the controlling spirit of this poor excuse for a
     humanoid
who only by my intervention have managed to get himself invited to this joyful
     feast  that
recently blessed the Domberg in Freising with a Rainbow of vary coloured
     talents of
Origami from around this paper burdened planet of ours..You have guessed it.
Thok 98 was there.  I hate to do this to him, because he has in many ways been
     the unwitting
victim of my whims, but to be honest to my aim in life I have to tell the truth.
Here is what I got from looking into his Convention memories:
. The 100 balloons dotting pictures in the sky for Lillian Oppenheimer. Oh Oh! A
warm and violent wave of emotion gushed forth and made his whole life in
     Origami sail
across his mind and explode into tiny spots of red and blue and yellow
     unfolding into the
thousands of pieces of  paper folded since the meting with  Lilian Oppenheimer
     in
Copenhagen in 1957, and now in June 1998 hundreds of people were meeting
in Freising and having a marvellous time together, folding folding folding,
because Lillian wanted so much to share her joy in folding, that she made it
     happen.
And it happened again and again, and a gain for everybody it is.
Now you might think that it is the finished pieces of Origami Art, which is on
     show,
that is the important result of an Origami Convention. No?
 I don.t think that either. If you have been present at one of the tables where
     people
are folding together, then you know, deep in your heart, that it is the actual
     folding
of the thing, that is important, it is not so much what you do to the paper,
but what the folding of it does to you.
And the tears of painful joy from laughing rolling downs the cheeks of Kasahara
is an experience that will be there forever. Vincent Floderer and Eric Joisel
     may be
wonderful exponents of their special talents in folding, but it is the heart
     warming stream
of fun and games they spread around that creates Convention Memories, which
     will stay
with me long after the splendid collections of models have crumbled into dust.

You will kindly excuse me for not going into details about all the other
     exciting
things that happened at the Domberg. Others will do that much better than I can.

Kalmon. The Great and Glorious.

Written in Copenhagen on the 4th of July 1998, the Independence Day of the USA
and the Day after Denmark was defeated by Brazil in France in the Football WM,
but I still love you Paulo, and what would Origami Deutschland be without Silke,
I love you too Silke, your Viereck Verlag will continue to help make the dream
of Lillian Oppenheimer of USA come true all over the world  May the Fold be
     with you.

plico ergo sum.





From: The Browns <pepperb@EROLS.COM>
Date: Sun, 05 Jul 1998 07:24:32 -0400
Subject: Re: Sorry about that (")

nobody at this address by the name of susan
Sam Brown

Paul & Jan Fodor wrote:

> Susan Dugan wrote:
> >
> >
> > Aloha, Jan & Paul,
> >     Sorry I missed you in NY, I hope you had a good time.
> > Hobbit
>
> Hi Susan,  I didn't miss us.  We couldn't go.  Had to change our plans
> and go to the mainland in Sept. to meet a new grandbaby.  Have to try
> for another convention.  Aloha, Jan
> --
> <http://www.gotomymall.com/hawaii/origami/>
> Origami by Jan website...the Fodor folder





From: Bernie Cosell <bernie@FANTASYFARM.COM>
Date: Sun, 05 Jul 1998 08:52:04 -0400
Subject: Re: Sorry about that (")
Priority: normal

On  5 Jul 98 at 7:24, The Browns wrote:

> nobody at this address by the name of susan
> Sam Brown
>
> Paul & Jan Fodor wrote:
>
> > Susan Dugan wrote:

> > > Aloha, Jan & Paul,
> >
> > Hi Susan,

You'll have to cut them some slack: they've decided to conduct a private
conversation using the origami-l mailing list, and so the other several hundred
of us have to agree to quietly "not notice" their presumed-private messages...

  /Bernie\

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





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Sun, 05 Jul 1998 10:27:42 +0200
Subject: Money bill ant diags   Was: (Re:Name for a type of fold)

At 07:55 PM 7/3/98 -0700, Pat Slider wrote:

>Did the diagrams make it into the '97 annual? (Still expecting a few weeks'
>wait to get my copy.)

I guess you thought '98 Annual. Anyway, no, the diags are not going to be in
it for the ant (the 'Dart Vader's Spaceship' is in the '98 Annual though) but...

>If not I hope they turn up in some future book of yours or ???

Yes, my next book will be published sometime in Moscow as a supplement for
the Russian Origami Magazine, and there the ant is gonna be.

>p.s. Enjoyed folding the monoplane from the "flying" BARF newsletter (2
>issues ago?). A great plane!

Thanks. Look out for more models in the next BARF-s (tell you which ones?
I'll leave that for Jeremy :)

Happy folding, Peter





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Sun, 05 Jul 1998 13:00:00 +0200
Subject: Paper decoration techniques

Hi!

In the newest issue (no. 50) of the Tanteidan Newsletter, there is a short
article (in English, so it's the only article I can actually read)
headlined "Stone-like paper", where a technique is described used by
Herman van Goubergen to make paper for his "Man reading the Papier".
Herman places a piece of blue paper on a xerox machine and copies it to
obtain a light gray, stone-like surface. The article mentions that the
downside of this technique is that the color rubs off easily, but that you
can get a similar effect by mixing a Chinese black ink called "sumi" with
salt.

I have also used coarse salt to create a surface structure for a camel --
the salt crystals soak up the paint in their vicinity, creating a mottled
surface.

Now I am interested in other techniques for decorating paper. Which
techniques have you used, and to create which effect?

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





From: Jorma Oksanen <tenu@SCI.FI>
Date: Sun, 05 Jul 1998 21:07:36 +0200
Subject: Re: Name for a type of fold

On 01-Jul-98, JJ Caaaaaaaaaaaaaaasaloooooooooooooonga wrote:

>Why not do what it is done in sports (I'm thinking of artistic skating and
>acrobatics) when  someone creates a new move : name it after the creator's.

Then we could compete who first manages quadruble Lang, triple Maekawa
combination. Technical merits: 6.0.

[summer is boring - no figure skating, just european football]

--
Jorma "my figure is sooooo handsome (not!)" Oksanen   tenu@sci.fi





From: Aimee Miura <aimeem@OHANA.COM>
Date: Sun, 05 Jul 1998 22:18:49 -1000
Subject: one-piece omega star

On Tue, 23 Jun 1998, Scott Bedrick said:

> Does anyone know who the creator of the one-piece omega start is?  I
> want to teach it this weekend at the Convention.

Well, this is too late for the convention (I'm just now catching up with
my e-mail after getting back), and these may not be the models you were
asking about, but Samuel Randlett's _The Flapping Bird_ contains a
three-piece "Omega Star" by Philip Shen and "XYZ" by E.D. Sullivan which
I believe can be used to make a one-piece Omega Star.

---
Aimee Miura <aimeem@ohana.com>





From: Sy Chen <sychen@EROLS.COM>
Date: Sun, 05 Jul 1998 23:13:10 -0400
Subject: Re: convention connection '98

At 06:40 PM 7/3/98 -0700, Ria Sutter wrote:
>Two Japanese folders
>Kayoko and SY Chen were very kind to me sharing diagrams from their
>collection.  I met Peg Barber, Tricia
>Tait and Carol Van Ecke and I had a good time talking to them about this
>list and about origami jewlery.

I have to clarify my origin. I am a Taiwanese, who lives in Maryland, USA
now.
|------------------------------------------------------\
|  _   Shi-Yew Chen (a.k.a. Sy) <sychen@erols.com>     |\
| |_| Folding http://www.erols.com/sychen1/pprfld.html --\





From: Sheldon Ackerman <ackerman@DORSAI.ORG>
Date: Mon, 06 Jul 1998 08:17:00 -0400
Subject: Re: one-piece omega star

> Well, this is too late for the convention (I'm just now catching up with
> my e-mail after getting back), and these may not be the models you were
> asking about, but Samuel Randlett's _The Flapping Bird_ contains a
> three-piece "Omega Star" by Philip Shen and "XYZ" by E.D. Sullivan which
> I believe can be used to make a one-piece Omega Star.
>
Three pieces are 3 pieces and one piece is one piece :-)

--
---
Sheldon Ackerman.......http://www.dorsai.org/~ackerman/
ackerman@dorsai.org
sheldon_ackerman@fc1.nycenet.edu





From: Susan Dugan <florafauna@EMAIL.MSN.COM>
Date: Mon, 06 Jul 1998 10:21:26 -0400
Subject: Re: ceramic paper

I was looking at the Gallery Origami House:
http://www.remus.dti.ne.jp/~origamih/eindex.htm
one of the models (with out a Creator) is:

    "Title : Hashi-oki (Chopstick Rest)
    one sheet of square paper, without cutting (ceramic paper)"

What is ceramic paper, can you buy it or do you make it, if so how?

I know that this has been 'talked about' before but I do not remember any
examples.

Hobbit





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Mon, 06 Jul 1998 11:28:07 -0400
Subject: Re: one-piece omega star

I believe this question got answered at some length
at the time of the original post; probably in time
for the convention.

valerie





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Mon, 06 Jul 1998 12:00:23 -0700
Subject: Re: convention connection

Greetings all,
      Thanks to Mr. SY Chen for clarifying his origin.  In my excitement, I
did not distinguish between
the different nationalities of folders of Asian descent.  As long as you
didn't take offense at my mistake,
it's ok.  No matter where we're from, we're origami enthusiasts!
Ria Sutter





From: Susan Dugan <florafauna@EMAIL.MSN.COM>
Date: Mon, 06 Jul 1998 12:01:18 -0400
Subject: Re: ceramic paper

 I did check the archives about ceramic paper (yes should have before the
first post, sorry) I did not see eny links to this model. So forget my
queston and checkout the model.

sorry about the extra post
hobbit





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Mon, 06 Jul 1998 12:06:21 -0700
Subject: Convention questions for non-attendees

Hi all:

In past years I've seen messages that indicate that one can purchase
convention 'kits' and/or t-shirts, printed collections, etc. - is that true?

I joined OUSA a couple of months ago but haven't heard from them so don't
know if I get any of this from them either...

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 06 Jul 1998 12:16:09 -0700
Subject: Re: Address for Makoto Yamaguchi?

At 09:15 PM 98/07/03 -0400, you wrote:
>I would like to ask Yamaguchi-san's permission to use some of one dimensional
>model's on greeting cards. Does anyone on the list know how to contact him?

There's contact info at the Gallery Origami House website:
<<http://www.remus.dti.ne.jp/~origamih/eindex.htm>http://www.remus.dti.ne.j
p/~origamih/eindex.htm>.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Aimee Miura <aimeem@OHANA.COM>
Date: Mon, 06 Jul 1998 12:36:46 -1000
Subject: copyrights, permissions, etc.

More grist for the mill:

The following statement is taken from the copyright page of _Easy Origami:
A Colorful Introduction to Practical Paper Folding_ by Kazuo Kobayashi and
Chiharu Sunayama. (c) 1996 T. Seto;  originally published in Japanese by
Nihon Vogue Co., Ltd. in 1996. ISBN 1-887374-025-9. English translation
1998, Lark Books.

   "The written instructions, photographs, designs, patterns, and projects
   in this volume are intended for the personal use of the reader and may
   be reproduced for that purpose only. Any other use, especially
   commercial use, is forbidden under law without written permission of
   the copyright holder."

This may be a standard Lark Books disclaimer (can anyone confirm/deny
this?), since they do produce primarily craft books, but it seems a bit
extreme in this case.

The authors might be presumed to be the creators, since none of the models
in the book seem to be credited to anyone (perhaps they were in the
Japanese version and the credits were lost in the translation?), EXCEPT
that many of the models (crane, pinwheel, boat, cicada, paper cup, etc.)
seem to be traditional models. I don't have a problem with the creator of
a model wanting to have a say in the use of that model, but in this case
it sounds like the copyright holder wants to control the commercial usage
of (for example) cranes folded out of handkerchiefs or cloth napkins just
because that is a project described in this book. ???!

Aimee, not involved in selling models, but following this discussion with
interest.
---
Aimee Miura <aimeem@ohana.com>

P.S. I have a hairstick made by Jan Fodor (thanks Jan!) which received
_many_ favorable comments at the convention.. It has a pair of origami
fish attached to it. To me, the things that really bring the fish to life
are the bead "eyes" added by Jan and the motion produced because of the
way the fish dangle from the stick. She may owe a debt to the creators of
the models she uses, but I do feel that her products involve more than
just the folded models - the creative touches that make them uniquely
hers.

P.P.S. Minor origami sighting: a Crate & Barrel summer sale catalog which
shows origami models (a crane in one photo and a fish and a book which I
can't identify in another) as props on one page.





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Mon, 06 Jul 1998 12:41:13 -0700 (
Subject: Re: for Mike Kanarek (please read this, Mike)

        I hope this works!!

    " An iterative process is an efficient mechanism for generating
form, creating
elaborate structures with a minimum expenditure of energy and
information. The results,
not surprisingly, are structures that appear self-similar."

        When reading the above from Peter Engel's, Origami from Angelfish to
Zen; I was
so taken aback that I had to make sure that I was reading a book on
Origami.[Origami is
the ancient art of paper folding]
        Being in jail and looking for things with which to keep busy I
remembered  a
friends' child fascinating me as she folded a crane in front of my eyes
and presented it to
me. I thought I might enjoy this 'paper folding'.
        I asked a friend if he would find a book on the subject.
        I am not sure if the friend had 'chosen' this book for me or merely
plucked it from
the shelve. At this point it does not matter, for it has become one of
my favorite reads.
        In a recent letter, I wrote the following; " This time,[in jail], has
given me the
space to examine my past and to bring a richness into my life that was
not there before.
For with all my education and money I have never set aside the time to
review my life or
to rethink the 'Why' for which I am here.
        While reading Mr. Engle's book I came to feel that my life was akin to
an origami
model. I had a multitude of folds,[experiences], which when viewed
independently looked
like utter chaos. But when assembled took shape,[character].
        Mr. Engle instructs the folder to examine their origami by; "unfolding
the paper",
in order to see from what angles it came into being. As he states; "what
seems to be a
bunch of unrelated lines that seem to have no relationship to one
another, are in fact very
much related."
        Now having taken the time to do this introspection of myself I feel
that I am in a
better position to go forward with this process we call life.
        Jail has been the iterative process needed for me to grow.

        The above was part of a 'jailhouse' newsletter, written back in April
of 96.
While in prison Origami allowed me to pass many an hour without care. I
was also able to
witness the therapeutic affect on myself and my fellow inmates.
        When I started to fold I was at the table by myself. A few days latter
I was joined
by another inmate. That night he too read Mr. Engles book and the next
day we formed
the group 'ITERATION'
        As the days  passed other inmates would stop. Some would look, others
made
comments, or gave compliments and some joined us.
        Nicknames are part of prison life and as our group grew we choose names
such as:
'The Crease', 'The Bend', 'The Fold', just to mention a few.
        Through a friend we were able to get a copy of  ORIGAMI CLASSROOM by
Nakano; which came with our first Origami paper. The wife of another
inmate sent us
books by Neale and hull and one by Rosado, we were on our way.
        Because of the environment in which we were folding most chose folds
which
were able to be mailed and not damaged. Some of these were: Kissing
Lips, Sitting
Puppy, Somersaulting Frog, Lillys just to mention a few.
        Next a letter was sent to Dover Press requesting a catalogue and
informing them
that we were not able to shop like most people. They not only sent the
catalogue but were
nice enough to include a few books along with some 7" and 9" paper.
        My birthday came at about the same time and a friend surprised me with
a copy of
The Complete Origami by kenneway.
        Now we were in full swing. We had 6 books and 9 full time folders every
night
after dinner. We also had those who had no desire to fold but were able
to help us out
when the group was stuck trying to figure out a new fold.
        Non- folders started to offer us cigarettes for our work, [ cigarettes
are money in
jail]. The cigarettes were traded to other inmates who's families would
shop for paper and
bring it in on their visits. The paper was shared with those inmates who
had a strong desire
to fold and no funds., We were basically, 'not-for-profit'.
        Guards were also attracted to our table. Some admitted to folding in
the past.
Others were amazed that we could sit and work together without incident.
One even took
the address of Origami USA and got his mother a membership!
        We knew we had finally arrived when guards allowed us to 'pass' our
models to
friends and family at visits.
        What I was able to be part of and witness to was the process of one
human being
helping another. Old, young, black, white, Muslim, and Jew all working
side by side. I saw
the return of social skills and the building of self esteem. I watched
as myself and others
found a way in which to channel aggression and relieve stress.
        Slowly as we felt at ease with ourselves and compatible with each other
our group
took on a duel purpose. We were not only doing Origami but also having a
'rap' session.
many bridges were crossed that may have never come to light had it not
been for our
common cause...Origami.
        One session was most reveling. Each member was asked to design or fold
a model
of something in their life and to present it the next day; with a
description of why it was
important. Needless to say the results were astounding.
        I had written to Origami USA some time earlier and not received a
response, but
then it came. There was a nice cover letter, paper, a copy of  Models by
Members, and
some copies of the newsletter. Much of what we read we were already
experiencing.
        I have left jail and know that what I and the other inmates shared will
stay with me
for life.

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





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Mon, 06 Jul 1998 12:59:37 -0700 (
Subject: Re: Interview with Neal Elias

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





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Mon, 06 Jul 1998 13:04:28 -0700 (
Subject: Peter Budai

How can I get peter's direct address?
Would like to send himcopt of article along with othe correspondence.
Mike

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





From: Jeannine Mosely <j9@CONCENTRA.COM>
Date: Mon, 06 Jul 1998 15:18:17 -0400
Subject: convention photos

Did anyone who attended the OUSA convention get a good photo of my
exhibit (half of Menger's Sponge)?  I'm such a lousy photographer, I
usually rely on friends to supply me with snapshots.  I need a picture
for my website.  (I always credit the photographer.)  If you took a
digital photo or have a scanner, you could just email me a gif or
jpeg.  Thanks,

        -- Jeannine Mosely





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Mon, 06 Jul 1998 15:34:34 -0700
Subject: Closed v. Open Sink: Definition

Sheldon Ackerman wrote:

<snip>..."my question boils down to what is a closed sink as opposed to
open sink which I assume is the more common one"

A couple of John Montroll's latest books have excellent descriptions and
examples of a closed versus an open sink.  An open sink collapses paper
into a model and generally follows the contours of the inside of the model,
so it can have all kinds of different versions depending on what's going on
inside the model.

A closed sink does two things:  1) It collapses the paper into the model,
as the open sink does, and 2) It bunches parts of the interior of the model
together so that a single (and very simple) pocket is formed.

If analogies work better for you:

Open sink:
A purse with several sections.

Closed sink:
A coin purse with only one section.

Best I could come with on the spur of the moment - hope it helps.

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Mon, 06 Jul 1998 15:41:37 -0400
Subject: Re: Convention questions for non-attendees

At 12:06 PM 7/6/98 -0700, Steve Woodmansee <stevew@EMPNET.COM>  wrote:

>In past years I've seen messages that indicate that one can purchase
>convention 'kits' and/or t-shirts, printed collections, etc. - is that true?

Yes, it is true. The whole package is known a s a "Sorry Kit" (as in,
sorry, I can not attend the Convention).
>
>I joined OUSA a couple of months ago but haven't heard from them so don't
>know if I get any of this from them either...

The form for this should have been part of the Convention registration
materials. If you did not receive such materials, I would notify the Home
Office ASAP.

Since OrigamiUSA is still recovering from post-Convention truama, I would
give them a few weeks before all of the materials are sent out.

Marc





From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Mon, 06 Jul 1998 15:49:36 -0400
Subject: New model at Underground Origami Site

Hi all,

I just wanted to let everyone know that one of my latest models has been
posted on Zack Brown's Underground Origami Site,
<http://lynx.neu.edu/z/zbrown/ug.html>. The model is called "Each One Eat
One," and it is a depiction of a sexual position (so some people might be
offended). The diagrams are very rough at this point, but the "Mad Corsican
Folder" (Jean-Jerome Casalonga) is in the process of rediagraming them for
his book. Until then, I hope you enjoy my Linear-A-esque instructions.

Marc





From: Sheldon Ackerman <ackerman@DORSAI.ORG>
Date: Mon, 06 Jul 1998 16:20:27 -0400
Subject: Fluffy!

Decided it was about time for me to glance through the 1996 Origami USA
annual collection. My wife looked over my shoulder and saw Fluffy.
She said you have to make this for me!

Great model, Marc. Fluffy, not my wife :-)
I especially enjoyed the folding as one fold seems to logically lead and
almost flow into the next fold. There are a number of Montroll models that
give me this same feeling.

I did not use 18 inch square paper. My model ended up very slightly larger
than the one pictured in the collection. I had some difficulty with the eyes
but attribute it to the size of the paper I was using.

I also had to redo the ears as there was  not enough ear showing when I
completed steps 49-50. Anyone attempting this model should realize that in
step 50 when it says "fold out top edges a small amount..." that is exactly
what it means. If a larger amount is folded out then there is a
proportionately larger amount of the tip that gets squashed down, which will
in turn cover the colored part of the ear that you wish to keep exposed.

I do have one basic question. I skipped steps 55-60 where you sink the
sides that were valley folded in the rear and then form the stand. Rather than
come up with my own way of doing it which may end up the correct way anyway, I
wanted to see if I can understand how you intended it to be done.
I can simply sink those sides and do almost a triangular sink similar to
what was done is step 25. I guess my question boils down to what is a closed
sink as opposed to open sink which I assume is the more common one. This
model uses one in step 21.

BTW one of these days I'll give your chessboard another try. I did not give
up yet! :-)

Thanks for Fluffy!

---
Sheldon Ackerman.......http://www.dorsai.org/~ackerman/
ackerman@dorsai.org
sheldon_ackerman@fc1.nycenet.edu





From: Marc Kirschenbaum <contract@PIPELINE.COM>
Date: Mon, 06 Jul 1998 16:52:05 -0400
Subject: Closed sinks (was Fluffy!)

At 04:20 PM 7/6/98 -0400, Sheldon Ackerman <ackerman@DORSAI.ORG> wrote:

>I especially enjoyed the folding as one fold seems to logically lead and
>almost flow into the next fold. There are a number of Montroll models that
>give me this same feeling.

Thanks! This model has always been a favorite of mine.

>I do have one basic question. I skipped steps 55-60 where you sink the
>sides that were valley folded in the rear and then form the stand. Rather
than
>come up with my own way of doing it which may end up the correct way
anyway, I
>wanted to see if I can understand how you intended it to be done.
>I can simply sink those sides and do almost a triangular sink similar to
>what was done is step 25. I guess my question boils down to what is a closed
>sink as opposed to open sink which I assume is the more common one. This
>model uses one in step 21.
>

The folds in question "clean up" the back of the model, so it is possible
to substitute other folds without comprimising the integrity of the front
of the model. You can check the archives for more info on closed vs. open
sinks, but here is a start:  With a standard open sink (on a waterbomb
base, for instance),  you would after precreasing, form a four sided saaure
of mountain folds for the point to pas through. If instead you kept one
pair of flaps together on your waterbomb base when sinking, you would be
sinking the point through a triangular shape (sinking triangularly).  If
you keep both pairs of flaps together when sinking, then you would be
performing a closed sink.

Marc





From: Doug Philips <dwp@TRANSARC.COM>
Date: Mon, 06 Jul 1998 18:50:26 -0400
Subject: Sinks, Wraps, etc.

Sometime along about the time I was working on Lang's Golden Eagle from
Origami Zoo by Robert Lang and Stephen Weiss, or maybe it was another
model, I just don't recall, the realization hit me (and it was a very
forceful insight) that all these things are just simple rearrangements
of layers of paper already folded.   They may not be simple to execute
on your model...

In origami there are only two folds, mountain and valley, that are
combined in a myriad of ways.  And once you've made a sequence of folds
(or combinations there of), the only other thing you can do is
rearrange the layers (the most extreme example of this is to open the
paper up and recollapse it reversing some of the creases, as, for
example, in Maekawa's Demon).  If you look at many intermediate models
that involve sinks, you'll see that often there is a valley or mountain
precrease involved.  When you make that crease the only "problem" is that the
layers aren't arranged properly.  But looking at the model and paper, the
relative locations of the paper/edges/folds are correct, but the ordering of
the layers is not.  A reverse inside fold is just a sink that is very easy to
do, or a sink is just a connected series of reverse inside folds, for example.
Closed sinks and open sinks vary only in which layers of the paper end up on
top which other ones.

Again, this isn't to say that these are easy to execute on a real model, since
the paper is constrained by its connection to the rest of the model and may
need to go through an intermediate state that is quite stressful on the folder
and the paper!

-D'gou the rambler.





From: Tung Ken Lam <TKLam@COMPUSERVE.COM>
Date: Mon, 06 Jul 1998 19:33:46 -0400
Subject: Origami sighting,  The Guardian, 4th July 98

Seen in a supplement of Saturday edition of The Guardian, UK.

The supplement on "ethical tourism" sponsored by VSO shows a two storey
house made of several dollar bills. It appears to be genuine origami (not a
mock up)





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Mon, 06 Jul 1998 20:15:58 -0500
Subject: Re: Chat tonight

Oops forget to tell the address:

http://www.the-village.com/origami/talk.html

Sheldon Ackerman wrote:

> >
> > Hi All:
> >
> > It's that time again......no not Howdy Doody time.....Chat time!
> >
> > Tuesday, July 7      9pm Eastern Standard Time
> >
> > Hope to see you there  :)
> >
> Can you be a bit more specific as to where this chat will be taking place?
> I honestly don't know.
>
> --
> ---
> Sheldon Ackerman.......http://www.dorsai.org/~ackerman/
> ackerman@dorsai.org
> sheldon_ackerman@fc1.nycenet.edu





From: Terry Hall <terryh@LAMG.COM>
Date: Mon, 06 Jul 1998 20:18:18 -0700
Subject: Re: convention photos

Hi Jeanine,

I took some pictures of all your Menger sponges and they seemed to turn out
very good. I will try and get them scanned and e-mailed to you. It may take a
couple of weeks since I am traveling some of this week and all next week.

Terry Hall





From: Magdalena Cano Plewinska <mplewinska@MINDSPRING.COM>
Date: Tue, 07 Jul 1998 00:37:12 +0000 (
Subject: Re: Apology (RE:RE:Do I get Origami)

On Sat, 20 Jun 1998 06:44:01 +0200, Sebastian Marius Kirsch
<skirsch@T-ONLINE.DE> wrote:

> I did a little
>workshop on wet-folding at this year's conventions, and I was amazed at
>how much I know about wet-folding, and how little of it I put into
>practice.

Lucky you. When I get ready to teach something I usually find out how
much I don't know about a subject I though I was pretty familiar with
:)
--
Magda Plewinska                   mplewinska@mindspring.com
Miami, FL, USA





From: Kenny1414@AOL.COM
Date: Tue, 07 Jul 1998 01:36:19 -0400 (
Subject: Re: Convention questions for non-attendees

In a message dated 98-07-06 15:16:35 EDT, you write:

> In past years I've seen messages that indicate that one can purchase
>  convention 'kits' and/or t-shirts, printed collections, etc. - is that
true?
>
>  I joined OUSA a couple of months ago but haven't heard from them so don't
>  know if I get any of this from them either...

Greetings Steve,

OUSA's conventions always have a printed collection, which is available
for purchase from OUSA, until the last copy sells.

Joining so late, you probably didnb't get the mailing announcement of
the convention, and the convention kit for non-attendees.

If I remember last year  right, I had a choice of the book only, or the kit
with book, some paper, and tee-shirt. I don't remember a tee-shirt being
offered in previous years, but I could have missed that.

Write, call, or go to OUSA's web page, to see whether they can still
sell you a kit, and at what price, or how much the book is.

You might want to ask them about previous years' s books. Some
of the previous convention books are out of print, and the prices vary,
mostly because the convention books get bigger each year.

Aloha (from Michigan),
kenny1414@aol.com (Kenneth M. Kawamura)





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Tue, 07 Jul 1998 07:45:42 -0700 (
Subject: Poetry

Thought you might enjoy this:

Cranes at Hiroshima
by Miya Kanzaki

My mother brought home a rainbow. The squares of paper
thrilled me with color. I didn't know what to make
of them, at first. She sat me down
at the kitchen table; mother and little girl
learned the art of origami. I folded the gift
of life into the kami with my mother at my side.

Soon, I was obsessed. I pushed aside
onionskin and binder paper,
preferring smooth orange and blue, giving
days and nights to the making
of flowers, rabbits, and cranes. This girl
had a mission, refused to come down

for dinner. As my father wolfed down
potato and beef stew with a side
of takuan pickles and sticky rice, his girl
busied herself with a menagerie of paper.
I still had the giraffe and the rhinoceros to make.
That Christmas, I proudly gave

my parents the zoo. I received a stockingful of gifts
and our trip to Japan, where cherry blossoms fall down
like snow in springtime. In Tokyo, we made
a pondful of koi squirm for food pellets. The insides
of their mouths were tangerine, their fins thin as paper.
Here, I was an American girl.

I felt so different from the Japanese boys and girls
who wanted to practice their English with me. They gave
me pink candy wrapped in rice paper.
I imagined the intricate origami shapes they had down
pat. With my hands at my sides,
I wondered about the origami they could make.

Next on our tour, we made
the trip to Hiroshima, were I saw a wax girl
with wax flesh dripping off her sides.
As I stood before the Memorial, I learned that children gave
strings of cranes---thousands---that hung down
from the sculpture, to the deceased. Like lilies, but paper.

These were the noble paper shapes Japanese children made!
Rain misted down. I thought of the dripping girl.
My mother gave me her hand. I trembled inside.

I found this poem in a book called ON THE WINGS OF PEACE ~ Writers and
Illustrators Speak Out for Peace, in Memory of Hiroshima and Nagaski
Introduction by Sheila Hamanaka~ All royalties from the sale of this
book will benifit international peace organizations~
                       Mike 'Pops" Kanarek

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





From: Judy D Pagnusat <judypag@JUNO.COM>
Date: Tue, 07 Jul 1998 10:37:47 -0700
Subject: Johnathan Baxter E-Mail Address

Johnathan Baxter,

Johnathan , If you are on this list, please contact me at
JudyPag@Juno.com

Thanks,

Judy Pagnusat

_____________________________________________________________________
You don't need to buy Internet access to use free Internet e-mail.
Get completely free e-mail from Juno at http://www.juno.com
Or call Juno at (800) 654-JUNO [654-5866]





From: The Browns <pepperb@EROLS.COM>
Date: Tue, 07 Jul 1998 11:35:45 -0400
Subject: Re: Electra (was: Please help me identify an author/designer...)

I have made an Electra from the book of ULtimate Papercraft and Origami, with 30
modules, but it falls apart to easily. Can you diagram one for me with 60
     modules?
Are the mdoules the same? Thanks.

Jeff Brown

Julius Kusserow wrote:

> Sorry if I post this massage again, but I don't find my massages from
> 26/6/98 in the archives
>
> > To make Electra60 first put five modules together in a pentagonal ring. To
> > every face then add two more modules which link up to make a square. Then
     join
> > each of the squares with a triangle - you don't add any extra modules to do
> > this. Just continue this pattern of pentagons, squares and triangles in a
> > symmetrical way and the model will form itself.
> >
> I tried this idea and come up with a version of 36 modules combined in
> triagles, squares and hexagons.
> a square have a hexagon on each side and triangle on each point.On the
> hexagons sides alternate squares and triangles. Looks very beautifull
>
> Enjoy
>         Julius





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Tue, 07 Jul 1998 11:39:50 -0400
Subject: Re: Convention questions for non-attendees

The OUSA Convention books ("Annual Collections"; "Models
by members") are about $25 each. The "Sorry Can't Attend
Kits run about $40-45 each; I think you could only order
the kits up to the Convention, but you can always ask.

The books however and available through the OUSA supply
center. Check the OUSA web site for the catalog/prices.
Some of the earlier issues are no longer available, but
many of the rest are.

The books, by the way, are not included in membership
fees, just the subscription to the magazine The Paper.
The books must be ordered separately, either using the
form that comes with the Convention notices, or from the
Supply Center.

valerie





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 07 Jul 1998 11:58:33 -0700
Subject: Re: convention photos

At 02:21 PM 98/07/07 -0400, you wrote:
>I just wanted to let everyone who was at the OUSA convention know that
>most of the sponges (and anti-sponges) on display were made by Doug
>Caine.  A lot of people have complimented me on Doug's work and I want
>to make sure he gets the credit.  The only one that I brought was the
>BIG one.  Of course, I'd love to have pictures of his sponges too.

I've got photos of both that turned out quite well. Give me some time to
scan them. The shot of you with your face in the middle of the sponge looks
great!
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 07 Jul 1998 13:06:31 -0700
Subject: Re: convention photos

At 03:24 PM 98/07/07 -0400, you wrote:
>Pardon my cynicism Joseph, but photos taken from last year's exhibit have
been
>in limbo ever since....

True...but this year I can do this sort of thing at work... 8)
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Jason Todd <jrtodd@MS.COM>
Date: Tue, 07 Jul 1998 13:39:55 -0400
Subject: Re: Crate and Barrel Origami sightings
In the showrooms in New York they have simple origami boats in several
of the displays.

-----Original Message-----
Sent: Monday, July 06, 1998 6:37 PM

P.P.S. Minor origami sighting: a Crate & Barrel summer sale catalog
which
shows origami models (a crane in one photo and a fish and a book which I
can't identify in another) as props on one page.





From: Mike Kanarek <kanarekorigami@HOTMAIL.COM>
Date: Tue, 07 Jul 1998 14:06:32 -0700 (
Subject: duo paper

Hi I am looking for duo paper in 6" black/+ high contrast color in
quanity of 50 sheets at a time.
I am making a series of Kusadama's and need servel packs of paper

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





From: Jeannine Mosely <j9@CONCENTRA.COM>
Date: Tue, 07 Jul 1998 14:21:22 -0400
Subject: Re: convention photos
Terry Hall wrote:

   Hi Jeanine,

   I took some pictures of all your Menger sponges and they seemed to turn out
   very good. I will try and get them scanned and e-mailed to you. It may take a
   couple of weeks since I am traveling some of this week and all next week.

I just wanted to let everyone who was at the OUSA convention know that
most of the sponges (and anti-sponges) on display were made by Doug
Caine.  A lot of people have complimented me on Doug's work and I want
to make sure he gets the credit.  The only one that I brought was the
BIG one.  Of course, I'd love to have pictures of his sponges too.

        -- Jeannine Mosely
