




From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Sun, 19 Jul 1998 10:00:59 -0400
Subject: Re: great response

ps=PostScript pdf=Acrobat Reader format

ps files convert into pdf if you have the software
(many on the list do) and the Acrobat viewer to
view & print pdf files is free from www.adobe.com

To get ps format files from practically any program
(such as VISIO), all you need is a Postscript
printer driver, even if you don't have a Postscript
printer (some HP laserjets with "M" in their names
are Postscript printers, e.g. LaserJet 5MP; you can
use their drivers).

If you don't have a Postscript
printer, simply install the printer driver for an
Apple Laserwriter and set it to print to a file
instead of to the printer port. In Windows you can
install the EPS file printer driver that comes with
windows, although the Apple Laserwriter print-to-file
almost always works very well, and Windows and MACs
and most graphics programs have drivers for the
Apple Laserwriter(s) because it is/was a very common
Postscript printer.

Then instead of printing your graphic to your printer,
send it to the "Laserwriter" or EPS file "printer".
You will then have a PostScript file (*.ps or *.eps
usually). Then anyone with the Adobe PDF file software
can convert it to PDF for you.

valerie





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Sun, 19 Jul 1998 13:30:33 +0200
Subject: Re: Favourite Authors (Long!)

On Sat, 18 Jul 1998, Chris T Durham wrote:
> Out of this list, who is your favourite author-

I think that this question is not that easy, since I admire each of these
authors for a different thing.

> 1. Robert Lang      *The best of all, to me.*

Yes, Robert Lang is one of the greatest origami creators, because he takes
complex origami and action origami in particular to its limits. Generally
I don't like action origami because it tends to focus on the action
mechanism and not on the appearance of the models. But Robert Lang's
action models are paper sculptures on their own right; they look great
even if they are not intended to be handled. This marriage between complex
origami and action origami is, as far as I know, practically unique.

I also like some of Robert Lang's models because they have a wonderful
"flow" in the folding sequence. An example for this is the Hercules Beetle
from Origami Insects. The crucial point about this model is locating the
center of the base; after that, all the folds simply fall into place.

> 2. John Montroll

What I admire about John Montroll is his versatility. He doesn't let
himself get tied down to one style of folding; instead he constantly tries
out new techniques and explores their possibilites. His books are not only
about different subjects, but also partly about different techniques.
"Origami Sculptures" was about the dog base; "Origami Inside-Out" was
about colour-changing techniques, "Mythological Creatures" was about the
strip base. Recently, he tried out the closed back and created a few
models that use it. The most interesting of these which I saw was a lion.
The model itself was not very spectacular, it was regular Montroll style;
but what I admired about it was that he had previously published (in
"African Animals") practically the same lion -- only with an open back!

Another author whose works I like as well is practically the opposite of
this attitude. Dave Brill goes to extraordinary length just to obtain a
closed back. (cf. the steps in his Rhino and his Elephant where the whole
head revolves, or the Dragon and the Fox that have to face backwards just
to have a closed back.) Please forgive me for saying that, Dave, but
sometimes I think you had better sacrificed the closed back for getting a
more elegant folding sequence.

For this reason, I still consider John's rhino from Origami Scultpures
superior to yours -- it doesn't have a closed back, but it is much easier
to fold and captures the proportions of a white rhino perfectly.

> 3. Fumiaki Kawahata     *Close second!*

I like some (but not all) of Kawahata's models for having a very simple
approach and a very elaborate finishing at the same time. Cf. his
Stegosaurus: It is in the essence only two rims to produce the plates,
with head and tail made from two corners of the square, and the legs and
feet pulled rather crudely out of the remaing paper at the sides. The
Dimetrodon and the Ankylosaurus are designed along the same lines; the
results are fascinating and technically challenging, but the method for
obtaining them are rather ... well, it's hard not to say simple.

I think I have always been more interested in the structure of things than
in their shape. For example, when I dabbled with photography (as a form of
art, not for documentation purposes), I always used b/w films because they
allow me to highlight the structure of the photographed object. So you
might think that origami is a pretty unusual hobby for someone like me,
because it always requires elaborate tesselation techniques to get some
kind of structure. You're probably right, and I also try to compensate
this either by choosing models like those Kawahata models that use a kind
of tesselation techniques, or by using special kinds of paper that provide
an interesting structure.

I could go on and on about why I like some author and another one not so
much, but I think I'll stop now and not bore you any longer.

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





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Sun, 19 Jul 1998 13:36:08 +0100
Subject: new diags

I've put up a couple of new diagrams at my homepage, if anyone's bored -
a 3d rectangle illusion & a similar idea applied to a practical
envelope. Let me know if you have any problems downloading them.

As ever with my work, feel free to duplicate & distribute them as you
wish, providing you ask before using them commercially.

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: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Sun, 19 Jul 1998 13:36:22 +0200
Subject: Re: What should a diagram contain? (was: I'm afraid of my paper!)

On Thu, 16 Jul 1998, Peter Budai wrote:
> Or better: They should contain diagrams that are (almost) standalone and
> written comments that is auxiliary for the diagrams ('borrowed' from
> R.J.Lang). Written comments are needed, for example at complex models, where
> there are XI-century-moves included.

... well, okay. Written comments can sometimes clarify the intended move;
but I happen to be a very picture-orientated person and only read the text
as a last resort. Sorry, my personal fault.

> >I often miss these indications in diagrams by John Montroll or Robert Lang.
> In which ones?

Do you want examples?

First of all, both Robert and John never use the well-known "repeat"
symbol (the arrow with 1+ bars). Robert's box with the number of the steps
that are to be repeated is a great help, yes, but using this sign would
make the diagrams more "stand-alone". Example: steps 21--24 of the
treehopper, where it says "repeat behind" in the text, but not in the
diagrams.

The symbol for the division of angles or sides (the arc with one or two
bars) is never used. It is not really necessary, okay, but it sometimes
clarifies the diagrams.

> And what about telling the complexity of the model, suggesting paper size
> and type or showing the crease patttern at the beginning of the diagrams?

I'd like to have this kind of information for many models; I'm always
interested in how the creator folds his models.

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





From: Ian McRobbie <Ourldypeac@AOL.COM>
Date: Sun, 19 Jul 1998 16:25:02 -0400 (
Subject: Origami for the Conoisseur

Dear people of the ever-growing origami list,
   I have a question for all of you out there who have the book "Origami for
the Conoisseur"(English version). Or "Top Origami"(Japanese version).  My
question is:
Is there a SR-71 Blackbird Jet in this book?  If you could tell me about the
model I would be greatfull.  I want to know what size paper it uses, if it
looks like a real SR-71, and if the folding procedure is lenghthy.
                                                         Thank you all,
                                                               Ian





From: billmcfa@CLARK.NET
Date: Sun, 19 Jul 1998 17:04:35 -0400
Subject: Re: fixed
Priority: normal

Could it have been a case problem.  Sometimes if you upload from
a pc to a unix box the case is not what you expect.  PC's are case
insensitive, UNIX is case sensitive.  Maybe the rename "synced"
the case.

That would be my first guess (as it happens to me often)

Bill

Bill McFarland <mcfarlan@verdi.sra.com> (work)
Bill McFarland <billmcfa@clark.net> (home)
38 50' 20" N 77 25' 40" W

A moment of thought would have shown him he was wrong -- But a moment
is a long time and thought is a hard thing.

see http://mcfarland.base.org for public key





From: Eileen Tan <eileen@TRISTAN.TN.CORNELL.EDU>
Date: Sun, 19 Jul 1998 18:23:14 -0400
Subject: Re: Origami for the Conoisseur

Hi,

   The SR-71 is in the book; in fact, one of my friends bought it just
for that model.  It's not very complex, 26 steps in all.  A 10 inch square
gives a model that's about 7 inches long and a wingspan of 4.5 inches.
It looks really fantastic when folded from black paper!

Eileen





From: Perry Bailey <pbailey@MTAYR.HEARTLAND.NET>
Date: Sun, 19 Jul 1998 19:16:27 -0500
Subject: Re: Origami for the Conoisseur

>   I have a question for all of you out there who have the book "Origami for
>the Conoisseur"(English version). Or "Top Origami"(Japanese version).  My
>question is:
>Is there a SR-71 Blackbird Jet in this book?  If you could tell me about the
>model I would be greatfull.  I want to know what size paper it uses, if it
>looks like a real SR-71, and if the folding procedure is lenghthy.
>

Yes.  It looks very nice.  Square.  I think so.  Doesn't look like it.

Anything else I can't do fer you?

Perry

Paper, scissors, stone.....
Origami, Kirigami, bludgeon....
pbailey@mtayr.heartland.net
http://www.afgsoft.com/perry/





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Sun, 19 Jul 1998 19:36:09 +0100
Subject: erk - site problems

Sorry to those trying to access my diagrams page, I'm having a problem
talking to the server - I'll let you know when it's fixed...

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: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Sun, 19 Jul 1998 19:45:07 +0100
Subject: fixed

Unbelievable - the file called "diagrams.html" returned the message
"document contains no data", but when I renamed it "diagram.html" (and
the referring link to it) it works fine. Any clues you web experts?

Basically, my homepage is back on-line!

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: V'Ann Cornelius <vann@LHT.COM>
Date: Sun, 19 Jul 1998 19:47:35 -0700
Subject: Re: fixed

Gee, um-m, well ... I still get the error message ...um-m ..

V'Ann

Nick Robinson wrote:
>
> Unbelievable - the file called "diagrams.html" returned the message
> "document contains no data", but when I renamed it "diagram.html" (and
> the referring link to it) it works fine. Any clues you web experts?
>
> Basically, my homepage is back on-line!
>
> 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: Judy D Pagnusat <judypag@JUNO.COM>
Date: Sun, 19 Jul 1998 20:00:48 -0700
Subject:

Cyril,

The Butterfly Ball Is in Gay Merrill Gross' book, "The Origami Workshop".
 I wish I could give you the ISBN number, but I don't have the book and
it is out of print.  Maybe you could find it at a library or find it from
a friend.

Judy

_____________________________________________________________________
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: Pat Slider <slider@STONECUTTER.COM>
Date: Sun, 19 Jul 1998 20:04:33 -0700
Subject: Re: Give me suggestions!

I'd recommend the Biddle's "New Origami" if all you have tried is kusudamas.

This book has very clear diagrams and lots of variety. The theme of the
book really is to give you an idea of the kind of origami that is out there
today. Functional models, modulars, animals, stories, puzzles, etc.. Some
simple, some complex. Work through this one and you will have a clearer
idea if you favor one particular subgenre or not.

Another good option for you would be to head to a good library and see what
they have.

pat slider
slider@stonecutter.com





From: Frommars@AOL.COM
Date: Sun, 19 Jul 1998 20:15:59 -0400 (
Subject: Copyright?

Can anyone tell me how I would go about getting an official copyright on a
model?





From: Ian McRobbie <Ourldypeac@AOL.COM>
Date: Sun, 19 Jul 1998 20:54:31 -0400 (
Subject: Origami for the Conoisseur ( Thanks for the responses!!)

Thank you all for your help!  You told me everything I need to know. I am very
greatful.  I understand It has a short folding procedure and was wondering if
anyone had the book, if they could scan the SR-71.  It would mean a lot to me.
You are all great friends!! Thabk you!!
                                                           Your fellow origami
devote,
                                                                     Ian  = ^





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Mon, 20 Jul 1998 02:13:19 -0400
Subject: Copyright?

Hop on the web & lookup the Copyright Office. Though actually
there is some question about copyrighting an origami object;
you can definitely copyright the diagrams, though the copyright
may just apply to the diagrams, not what they show how to make.
(There have been exhaustive exhausting discussions here about
all that stuff, and I'm *not* trying to stir all that up again; if you're
interested, browse the mail list message archive.)

To copyright your diagrams, just put the standard copyright notice
on them. And check your local library for books for artists and
other creative people for how-to defend your intellectual property.

valerie





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Mon, 20 Jul 1998 06:32:09 +0200
Subject: Re: Give me suggestions!

At 02:17 PM 7/18/98 PDT, Liony Azali wrote:

>[...] What book should i go next which more exciting than Kusudama?
>i find Kusudama is very exciting, but i want more challenge :) [...]

Well, if you're okay with reverse-folds (and a little bit okay with open
sinks), I think you could go on a Montroll book. Those are nice models and
not so difficult that you would not be able to fold them. Next step Lang
models but you have to complete the Montrol books first... :)  (Okay, the
'Origami in Action' by Lang has also some simple models which you could fold).

Peter Budai

P.S. I guess you know who are these two :)





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Mon, 20 Jul 1998 09:03:18 -0700
Subject: Re: Favourite Authors

I cast my vote for Montroll, but it was way close (Montroll / Lang).  Ask
me again and It could change... : ^~)

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Mon, 20 Jul 1998 09:08:21 -0700
Subject: Towards more helpful instructions in books

Some comments made last week along the lines of improving diagrams and
descriptive text made me wonder if anyone else gets confused as I do with
some models.  The problem lies in directives that are not quite specific
enough, such as:

"Pull *some* paper out"
"Repeat behind"
"Change so the model resembles figure X"
etc.

I know it's near impossible to be more specific when the model reaches more
complex stages, so would be interested in input from others on this.
Perhaps some new symbols?  Tearaway/X-ray views?  A count of how many
specific sheets form the layer that is to be reached behind?

(Of course I can't afford the easier, more practical solution of a complete
brain transplant, so I'm hoping an alternative solution presents itself...:
^~)

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Amy <ahuang@GPU.SRV.UALBERTA.CA>
Date: Mon, 20 Jul 1998 10:20:49 -0600
Subject: Origami paper in Seattle

Hi there,

        I'm going to visit Seattle next weekend and would like to know if
there are any good places for origami paper. Specifically, I'm looking for
the paper that usually comes in a larger size, for eg, Not-a-Hide. Or, if
you just know a really good place for a variety of paper, please let me know
where!

        Thanks,
        Amy

            \\~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~//
            ||                                              ||
            ||    ------     Amy Huang                      ||
            ||   ||||||||    ahuang@gpu.srv.ualberta.ca     ||
            ||   ||||||||    http://www.ualberta.ca/~ahuang ||
            ||  /        \                                  ||
            ||  |   _    |   Faculty of Pharmacy            ||
            ||  |  |_)   |   University of Alberta          ||
            ||  |  | \   |   Edmonton, Alberta, Canada      ||





From: Susan Dugan <florafauna@EMAIL.MSN.COM>
Date: Mon, 20 Jul 1998 10:40:55 -0400
Subject: Re: Give me suggestions!

I agree with you Pat, Steve and Megumi Biddle's books are #1 with me. My
first book was the Kusudama book. I then found Biddle's "Essential Origami"
it is good teaching book so is "New Origami".
Megumi Biddle's illustrations are more than diagrams she shows were your
fingers should be as you complete the steps, and with each step there are
written instructions. They also have more in-between steps than other books.
Liony, the "kid stuff" I referred to in an earlier post are waterbombs,
fortune tellers and other folds that have been pasted down from kid to kid
for generations. Have FUN folding.

Hobbit





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Mon, 20 Jul 1998 11:00:24 +0100
Subject: Re: fixed

V'Ann Cornelius <vann@LHT.COM> sez

>Gee, um-m, well ... I still get the error message ...um-m ..

What can I say? It now works for both my browsers - the file should be
called "diagram.html" - are you reading it from your cache? If so, click
reload!

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: Peter Mielke <peter@DOE.UTORONTO.CA>
Date: Mon, 20 Jul 1998 11:07:32 -0400
Subject: Mushroom fold story was: Origami Deutschland Convention
Gnu-Emacs: no job too big... no job.

From David Lister's account of the OD Freising Convention:

> [...] His fellow compatriot and origami sulptor, Vincent Floderer treated
> us to the amazing experience of mushroom folding and at one stage
> everyone trooped downstairs to the goldfish fountain in the foyer, to
> immerse in it our crumpled papers before final modelling. I inspected the
> goldfish the next day to assure myself that they had not been harmed.

Does anyone remember the story that went along with the fold? I remember it
had parts dealing with:

    - out in the rain (mushrooms need moisture)
    - wearing a hat
    - a bakery

Thanks,

Peter





From: cyril winebrenner <shasta667@HOTMAIL.COM>
Date: Mon, 20 Jul 1998 12:08:01 -0700 (
Subject: Re: Re Butterfly Ball

what is that a book, or what i dont understand.  new to the list serve.
and do you have copies of the diagrams that you might scan and send to
me?

>From owner-origami@mitvma.mit.edu Mon Jul 20 11:21:30 1998
>Received: from PEAR.EASE.LSOFT.COM (206.241.12.19) by VMS.DC.LSOFT.COM
(LSMTP for OpenVMS v1.1b) with SMTP id <2.FF24AB0B@VMS.DC.LSOFT.COM>;
Mon, 20 Jul 1998 14:20:16 -0500
>Received: from MITVMA.MIT.EDU by MITVMA.MIT.EDU (LISTSERV release 1.8c)
with
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14:21:37
>          -0400
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-0400
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VM SMTP
>          V2R4a) via TCP with SMTP ; Mon, 20 Jul 1998 14:20:47 EDT
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14:20:14
>          -0400 (EDT)
>Mime-Version: 1.0
>Content-type: text/plain; charset=US-ASCII
>Content-transfer-encoding: 7bit
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>Message-ID:  <3caa2287.35b38a5f@aol.com>
>Date:         Mon, 20 Jul 1998 14:20:14 EDT
>Reply-To:     Origami List <ORIGAMI@MITVMA.MIT.EDU>
>Sender:       Origami Mailing List <Origami@MIT.Edu>
>From:         Maldon7929@AOL.COM
>Subject:      Re Butterfly Ball
>To:           ORIGAMI@MITVMA.MIT.EDU
>
>Origami Workshop: ISBN 1-56799-148-3
>
>I got mine from Borders.
>
>MW
>

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





From: cyril winebrenner <shasta667@HOTMAIL.COM>
Date: Mon, 20 Jul 1998 12:27:09 -0700 (
Subject: Re: Copyright?

well all i think you have to do is put your diagrams in an envelope and
mail them to yourself.  dont open it when it gets to you just save it
but that is how it works for poetry so it should work.

>From owner-origami@mitvma.mit.edu Sun Jul 19 17:29:25 1998
>Received: from PEAR.EASE.LSOFT.COM (206.241.12.19) by VMS.DC.LSOFT.COM
(LSMTP for OpenVMS v1.1a) with SMTP id <13.ABBF626C@VMS.DC.LSOFT.COM>;
Sun, 19 Jul 1998 20:17:09 -0500
>Received: from MITVMA.MIT.EDU by MITVMA.MIT.EDU (LISTSERV release 1.8c)
with
>          NJE id 4876 for ORIGAMI@MITVMA.MIT.EDU; Sun, 19 Jul 1998
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>          -0400
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>          V1.2b/1.8b) with BSMTP id 0885; Sun, 19 Jul 1998 20:16:52
-0400
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SMTP
>          V2R4a) via TCP with SMTP ; Sun, 19 Jul 1998 20:16:51 EDT
>X-Comment: mitvma.mit.edu: Mail was sent by imo15.mx.aol.com
>Received: from Frommars@aol.com by imo15.mx.aol.com (IMOv14_b1.1) id
0BZQa20768
>          for <ORIGAMI@MITVMA.MIT.EDU>; Sun, 19 Jul 1998 20:15:59 +2000
(EDT)
>Mime-Version: 1.0
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>Content-transfer-encoding: 7bit
>X-Mailer: AOL 3.0 for Windows 95 sub 51
>Message-ID:  <1930c539.35b28c40@aol.com>
>Date:         Sun, 19 Jul 1998 20:15:59 EDT
>Reply-To:     Origami List <ORIGAMI@MITVMA.MIT.EDU>
>Sender:       Origami Mailing List <Origami@MIT.Edu>
>From:         Frommars@AOL.COM
>Subject:      Copyright?
>To:           ORIGAMI@MITVMA.MIT.EDU
>
>Can anyone tell me how I would go about getting an official copyright
on a
>model?
>
>

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





From: Jeff Kerwood <jkerwood@USAOR.NET>
Date: Mon, 20 Jul 1998 13:36:33 -0400
Subject: Re: Towards more helpful instructions in books

> From: Steve Woodmansee <stevew@EMPNET.COM>

> The problem lies in directives that are not quite specific
> enough, such as:
>
> "Pull *some* paper out"
> "Repeat behind"
> "Change so the model resembles figure X"
> etc.

Well Steve, I know where you're coming form. A fellow folder asked me what
I'd been folding lately, my sad reply was something like "the first 10
steps of about 10 models". I'm not really a puzzle kind of guy (if I were
I'd get out the Mensa book I got for Christmas). I've been wondering lately
if a non-puzzle person can be a happy origamist. Puzzle people seem to
thrive or enjoy the frustration (I'm not sure thats the correct word or the
word they'd use) of a puzzle, non-puzzle people (myself anyway) don't like
and don't enjoy that kind of unwelcome frustration. The joy I find in
origami comes from the challenge of folding a model I like to the best of
my ability and striving  to improve my skill so I can fold it better. The
challenge I enjoy is the act of transforming a piece of paper into
something beautiful, not sitting with a diagram puzzling over whats next.

In a perfect world, where authors created perfect diagrams and every folder
had a perfect brain and could always read a perfect diagram there would be
no need for text. More symbols would be fine, if they were meaningful and
authors consistently used them. For me, I see no reason not to use every
means of useful communication available. Why not make learning a model as
easy as possible, give the folder the best possible chance of success? I
would be perfectly happy if I could get the info via a Vulcan mind
transfer. It is not the learning of the folds and moves that I enjoy but
the act of creation.

And not to be English-centric but a heck of a lot of people can read enough
English to make text useful to them. That's not to say that the diagrams
should be any less perfect than they can be made. But if 80% (made up
figure) of the folders can read some helpful text and be more successful -
well, why not include the text? Including text that is not in a language
that everyone understands is not meant to exclude those who don't read it
but is meant to give as many people as much of a chance of success as
possible. I do understand and accept that authors may choose (at the
expense of those of us with less than perfect brains) to put lots of less
than optimally diagrammed models in a book, and that publishers may
disallow or cut text and not much can be done about that - but otherwise
......?

Jeff "why can't everyone see things MY way? ;-)" or
"Steve ya hit a hot button on that one ;-)" or
"sorry I couldn't get my fingers to shut up ;-)" or
"it's time to stop, this soap-box is getting slippery" Kerwood





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Mon, 20 Jul 1998 13:36:48 -0700
Subject: Copyright FAQ

Jeannine Mosely wrote:

(snip) ..."However, certain questions that are asked, such as "How do I
patent or
copyright an origami model?" have fixed answers that are not subject
to sudden enlightenment and are matters of fact, not opinion.  Why
not have a FAQ for these?"

Bravo!  I'd like to see the FAQ (FDQ?  Frequently Discussed Questions...?)
state the facts simply, with perhaps a legal reference following for those
who want to delve into further detail.

I know there are many disagreements amongst the group as to the application
of the copyright laws because we also discuss matters of Origami propriety.
 As Jeannine noted in her post, there are a number of loopholes where
Origami law is concerned, such as re-diagramming existent models as well as
all the many issues we've discussed ad nauseum in the past along these
lines.  Still, a FAQ, if it were simple enough to use and indexed would
probably be a great tool.

Now...who gets to manage it?

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 20 Jul 1998 13:56:57 -0700
Subject: Re: Copyright?

Cyril, could you please not quote all of the header information when you
respond to messages on the list? Thank you. It only takes a few seconds for
you to cut out the extraneous bits of a message, and it saves time for the
other 500 members of the list in finding what you actually wanted to say.

At 12:27 PM 98/07/20 -0700, cyril winebrenner wrote:
>well all i think you have to do is put your diagrams in an envelope and
>mail them to yourself.  dont open it when it gets to you just save it
>but that is how it works for poetry so it should work.
>
>>From owner-origami@mitvma.mit.edu Sun Jul 19 17:29:25 1998
>>Received: from PEAR.EASE.LSOFT.COM (206.241.12.19) by VMS.DC.LSOFT.COM
>(LSMTP for OpenVMS v1.1a) with SMTP id <13.ABBF626C@VMS.DC.LSOFT.COM>;
>Sun, 19 Jul 1998 20:17:09 -0500
>>Received: from MITVMA.MIT.EDU by MITVMA.MIT.EDU (LISTSERV release 1.8c)
>with
>>          NJE id 4876 for ORIGAMI@MITVMA.MIT.EDU; Sun, 19 Jul 1998
>20:18:30
>>          -0400
>>Received: from MITVMA (NJE origin SMTP@MITVMA) by MITVMA.MIT.EDU (LMail
>>          V1.2b/1.8b) with BSMTP id 0885; Sun, 19 Jul 1998 20:16:52
>-0400
>>Received: from imo15.mx.aol.com [198.81.17.5] by mitvma.mit.edu (IBM VM
>SMTP
>>          V2R4a) via TCP with SMTP ; Sun, 19 Jul 1998 20:16:51 EDT
>>X-Comment: mitvma.mit.edu: Mail was sent by imo15.mx.aol.com
>>Received: from Frommars@aol.com by imo15.mx.aol.com (IMOv14_b1.1) id
>0BZQa20768
>>          for <ORIGAMI@MITVMA.MIT.EDU>; Sun, 19 Jul 1998 20:15:59 +2000
>(EDT)
>>Mime-Version: 1.0
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>>X-Mailer: AOL 3.0 for Windows 95 sub 51
>>Message-ID:  <1930c539.35b28c40@aol.com>
>>Date:         Sun, 19 Jul 1998 20:15:59 EDT
>>Reply-To:     Origami List <ORIGAMI@MITVMA.MIT.EDU>
>>Sender:       Origami Mailing List <Origami@MIT.Edu>
>>From:         Frommars@AOL.COM
>>Subject:      Copyright?
>>To:           ORIGAMI@MITVMA.MIT.EDU
>>
>>Can anyone tell me how I would go about getting an official copyright
>on a
>>model?
>>
>>
>
>
>______________________________________________________
>Get Your Private, Free Email at http://www.hotmail.com
>
----------------------------------------------------------------
Joseph Wu, List Owner of ORIGAMI@MIT.EDU   t: 604.730.0306 x 105
e: origami-request@mitvma.mit.edu          f: 604.732.7331





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 20 Jul 1998 14:07:41 -0700
Subject: Re: Copyright?

At 01:56 PM 98/07/20 -0700, you wrote:
>Cyril, could you please not quote all of the header information when you
>respond to messages on the list? Thank you. It only takes a few seconds for
>you to cut out the extraneous bits of a message, and it saves time for the
>other 500 members of the list in finding what you actually wanted to say.

Of course, I accidentally clicked send before I deleted the rest of the
message. Apologies all.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Maldon7929@AOL.COM
Date: Mon, 20 Jul 1998 14:20:14 -0400 (
Subject: Re Butterfly Ball

Origami Workshop: ISBN 1-56799-148-3

I got mine from Borders.

MW





From: Douglas Zander <dzander@SOLARIA.SOL.NET>
Date: Mon, 20 Jul 1998 14:43:59 -0500 (
Subject: Re: Copyright?

>
> well all i think you have to do is put your diagrams in an envelope and
> mail them to yourself.  dont open it when it gets to you just save it
> but that is how it works for poetry so it should work.
>
> >Can anyone tell me how I would go about getting an official copyright
> > on a model?
> >

 no, that is a common mistake.  you may send the stuff to yourself, but that
 will not hold up in court.  this is an urban legend so to speak.  your best
 bet is to ask a laywer or patent attorney.  (envelopes can be opened and
 reclosed and there is also a magic trick where paper may be inserted into
 an envelope that appears to have been sealed and signed.)

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





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 20 Jul 1998 15:18:29 -0700
Subject: Re: Towards more helpful instructions in books

At 01:36 PM 98/07/20 -0400, you wrote:
>In a perfect world, where authors created perfect diagrams and every folder
>had a perfect brain and could always read a perfect diagram there would be
>no need for text. More symbols would be fine, if they were meaningful and
>authors consistently used them. For me, I see no reason not to use every
>means of useful communication available. Why not make learning a model as
>easy as possible, give the folder the best possible chance of success? I
>would be perfectly happy if I could get the info via a Vulcan mind
>transfer. It is not the learning of the folds and moves that I enjoy but
>the act of creation.

I think that most diagrammers try to make things easy to understand. What's
the point in deliberately producing confusing diagrams? The problem is that
"easy" is relative. We've already seen in this discussion that different
people have different sorts of difficulties with diagrams. We'll all just
have to keep trying our best.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Jeannine Mosely <j9@CONCENTRA.COM>
Date: Mon, 20 Jul 1998 16:03:48 -0400
Subject: Re: Copyright?
In the U.S., you cannot copyright an origami model, you can only
copyright the diagrams.  Someone else can redraw them, and as long as
they make significant changes, can claim copyright for the new
diagrams, and alas, even claim the design as their own.  The
will have no friends.

You can, however, patent an origami model, but this is a very
expensive and time consuming process, and still does not protect you
from some one else publishing diagrams of the model.  It merely
protects you against anyone else actually constructing the model for
profit.  There have been fewer than a dozen such patents ever issued.

How do I know?  My father is a patent attorney and I hold a patent on
an origami model (with another patent pending).

Recent discussions about whether or not we should have a faq seemed to
conclude that it was ok to have people constantly asking, "How do I
divide an edge in thirds?" or some such question, since it often
stimulated new discussion and unexpected results.  (I mentioned that
particular question because the last time it came up, I thought I knew
everything there was to know about it, and was delighted to learn
something new.)

However, certain questions that are asked, such as "How do I patent or
copyright an origami model?" have fixed answers that are not subject
to sudden enlightenment and are matters of fact, not opinion.  Why
not have a FAQ for these?

        -- Jeannine Mosely





From: Casida Mark <casida@ERE.UMONTREAL.CA>
Date: Mon, 20 Jul 1998 17:34:12 -0400
Subject: Re: Copyright?

> How do I know?  My father is a patent attorney and I hold a patent on
> an origami model (with another patent pending).

So that means you've made a public disclosure of how to make the model, eh?
Is it hard to find the patent with the diagrams?  (If I promise not to sell
the finished model ;-)

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimie.umontreal.ca           |





From: Bob Nienhuis <nienhuis@WGN.NET>
Date: Mon, 20 Jul 1998 17:46:28 -0700
Subject: New thought Re: Copyright

I know that many of the readers of the list are sick to death of discussing
copyrights and such, but I had an idea that might solve the problem to
everyone's satisfaction.

The idea is to follow the lead of software manufacturers and ship
books in a shrink wrapper with a license agreement.

The license might say something to the effect as, "Opening this shrink
wrap package constitutes agreement to the terms of the following license.
The license grants you the right to make any of the models diagrammed
in this book for your own personal use.

You are not granted the right to sell any of the models or any derivative
models for profit, nor are you entitled to reproduce the diagrams for sale.

This seems to be the essence of the OUSA guidelines.

Full warp engine power routed to the flame deflector shields,
Flames > dev/nul

Bob
nienhuis@wgn.net





From: Jeannine Mosely <j9@CONCENTRA.COM>
Date: Mon, 20 Jul 1998 18:28:45 -0400
Subject: Re: Copyright?
Mark Casida asks:

   > How do I know?  My father is a patent attorney and I hold a patent on
   > an origami model (with another patent pending).

   So that means you've made a public disclosure of how to make the model, eh?
   Is it hard to find the patent with the diagrams?  (If I promise not to sell
   the finished model ;-)

You can visit the United States Patent and Trademark Office website at
www.uspto.gov and search for Patent 4,517,251, but it doesn't give you
much information.  They'll let you order a copy of any patent, but I
think they charge too much.  Perhaps I should scan in the relevant
portions for my website.  It's a design for a folded octahedron.

I've never made any money off this one.  My Dad did it for me as a
birthday present.  He thought the greeting card companies might mass
produce pre-creased blanks with attractive patterns on them to sell as
Christmas ornaments, but I didn't know how to contact the right
people.  Anyway, I think it's expired now.

The model whose patent is pending right now is one I taught at the
OUSA convention a year ago, made with circular creases scribed with a
compass.  This is a real pain to do by hand, but could be easily mass
produced, pre-scored, with assembly instructions printed on the back
and colored foil designs on the front.  It just might sell.

        -- Jeannine Mosely





From: Sheldon Ackerman <ackerman@DORSAI.ORG>
Date: Mon, 20 Jul 1998 18:49:15 -0400
Subject: Re: Towards more helpful instructions in books

>
> I think that most diagrammers try to make things easy to understand. What's
> the point in deliberately producing confusing diagrams? The problem is that
> "easy" is relative. We've already seen in this discussion that different
> people have different sorts of difficulties with diagrams. We'll all just
> have to keep trying our best.
> ----------------------------------------------------------------
> Joseph Wu, Origami Artist and Multimedia Producer

I was going to respond with something along your lines as well. After all,
models are rated from simple to complex. The original message is like saying
that everyone should be able to fold EVERY model in existance if it were
diagrammed properly. At this point I would say that if I am shown a fold
then I can eventually do it. However when looking at a diagram, even if I
understand what is supposed to happen, I can not always do it.

But the original poster of this thread does have a point. This past week I
decided to try some models that were in one of the Annual Collections. Some
of the diagramming on simple and intermediate models were quite poor and
would be quite difficult for someone with a minimal folding experience. In
other words, the models were easy and the folding was easy but the diagrams
outlining the folding were anything but easy to follow.

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





From: Ian McRobbie <Ourldypeac@AOL.COM>
Date: Mon, 20 Jul 1998 19:28:02 -0400 (
Subject: To Nick Robinson

Nick,
   First i must say you are very good at designing and diagraming your models.
At your site today I tried to look at your 3 part cube illousion and the
screen turned up blank,even after reloading. Just thought I'd let you know.
                                                          Fellow origamist,
                                                                   Ian





From: Alice MacDonald <amacd@BMI.NET>
Date: Mon, 20 Jul 1998 19:42:10 -0700
Subject: Re: Origami paper in Seattle

Amy, There's a second Uwajimaya's in Bellevue, WA too - a great store! And
the University of Washington bookstore gives a teacher discount. Seattle is
a super city - enjoy!
Thanks for the names of the other places to get paper and books Janet -
will save for the next visit.
Alice





From: Pat Slider <slider@STONECUTTER.COM>
Date: Mon, 20 Jul 1998 19:51:27 -0700
Subject: Re: Butterfly Ball

>Date:    Mon, 20 Jul 1998 14:20:14 EDT.
>From:    Maldon7929@AOL.COM
>Subject: Re Butterfly Ball
>
>Origami Workshop: ISBN 1-56799-148-3
>
>I got mine from Borders.
>

Well, "Origami Workshop" (the paperback version of "Art of Origami") is
out-of-print these days; although I expect the odd bookstore still has
copy. A lot of the material has crossed over into Gay Merill Gross's latest
"Paper Creations," but whether or not the butterfly ball did I don't know.
Seems like it would given its popularity.

The creator by the way is Kenneth Kawamura.

Wouldn't be fair to Gross to scan this one, but here is a hint/challenge :->:

Fold 12 waterbomb bases and figure out how to fit them together.

pat slider
slider@stonecutter.com

p.s. I think if you search in the archives under "butterfly ball" you will
find some hints on assembling the bases.





From: Frommars@AOL.COM
Date: Mon, 20 Jul 1998 19:56:06 -0400 (
Subject: Re: Copyright?

>To copyright your diagrams, just put the standard copyright notice
>on them. And check your local library for books for artists and
>other creative people for how-to defend your intellectual property.

does this mean that it is legal?





From: Judy D Pagnusat <judypag@JUNO.COM>
Date: Mon, 20 Jul 1998 20:13:37 -0700
Subject: Re: Re Butterfly Ball

Cyril,

The Butterfly Ball is a model that is put together with small butterfly
folded out of light weight paper.  It also has a story that you tell with
it and at the end you hit the ball up in the air breaking it open and the
butterflies flutter down.

Judy

_____________________________________________________________________
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: Judy D Pagnusat <judypag@JUNO.COM>
Date: Mon, 20 Jul 1998 20:24:43 -0700
Subject: Re: Butterfly Ball

The Butterfly Ball is not in Gay's current book, Paper Creations.

Judy

_____________________________________________________________________
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: Perry Bailey <pbailey@MTAYR.HEARTLAND.NET>
Date: Mon, 20 Jul 1998 21:38:24 -0500
Subject: Re: sci fi model base

For those of you who have a copy of this years OUSA Annual, check on the docs
     for the rocking horse, it would make a wonderful base for a Cylon raider
     for Battlestar Gallactica, just a thought I had, but I can't remember what
     they looked like anymore.

Perry

Paper, scissors, stone.....
Origami, Kirigami, bludgeon....
pbailey@mtayr.heartland.net
http://www.afgsoft.com/perry/





From: Mike and Janet Hamilton <Mikeinnj@CONCENTRIC.NET>
Date: Mon, 20 Jul 1998 22:21:29 -0400
Subject: Re: Origami paper in Seattle

>        I'm going to visit Seattle next weekend and would like to know if
>there are any good places for origami paper. Specifically, I'm looking for
>the paper that usually comes in a larger size, for eg, Not-a-Hide. Or, if
>you just know a really good place for a variety of paper, please let me
know
>where!

Here are some places that have been mentioned in the past.  I can't
personally vouch for any of them...(I've never been to Seattle).

Daniel Smith
4150 First Avenue South
Seattle, WA
(206) 223-9599
A good selection of art papers. They carry some pre-cut, packaged origami
paper also. Located about 1/4 mile south of the West Seattle Freeway
overpass, on the east side of the street. Look for the big sign.

Kinokuniya Bookstore
519 6th S
Seattle, WA 98104
(206) 587-2477
This is the best bookstore in the area for origami books, both in English
and some Japanese imports. There is a selection of washi paper also. The
store is located upstairs in Uwajimaya.

Morning Glory
A chain of Korean stationery stores. Branches in Seattle.

Seattle Art, Inc.
1816 8th Avenue
Seattle, WA
(206) 626-0711
The best selection of art papers in town. They carry some pre-cut, packaged
origami paper also. Located a few blocks north of the State of Washington
Convention Center and on the same block as the Greyhound station.

University of Washington Book Store
4326 University Way NE
Seattle, WA
(206) 634-3400
Their selection of origami books varies. Sometimes quite extensive and
sometimes a bit skimpy.

Uwajimaya
519 Sixth South and South King
Seattle, Washington 98103
(206) 624-6248
The largest supply of pre-cut and packaged origami papers. Some washi paper
also. Upstairs from the grocery store area.

Janet Hamilton

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





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Tue, 21 Jul 1998 07:57:24 +0200
Subject: Re: To Nick Robinson

Ian,
Don't boost Nick's ego any more, or it'll burst the skull!
However, I had no problems reading the files yesterday afternoon. Maybe
it's something browser-specific? I use Netscape 3.01, maybe newer or
older or different browsers just can't handle the beauty of the
diagrams.

Matthias

Ian McRobbie wrote:
>Nick,
>   First i must say you are very good at designing and diagraming your >models.
>At your site today I tried to look at your 3 part cube illousion and >the
>screen turned up blank,even after reloading. Just thought I'd let you >know.
>Fellow origamist,
>Ian





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Tue, 21 Jul 1998 07:44:05 +0100
Subject: Re: To Nick Robinson

Ian McRobbie <Ourldypeac@AOL.COM> sez

>   First i must say you are very good at designing and diagraming your models.

Is this sarcasm??

>At your site today I tried to look at your 3 part cube illousion and the
>screen turned up blank,even after reloading.

All I can say is try again - the file *is* there & it works for me! I
recommend people right click on diagram links & download the file from
the menu presented. Once it's on your machine, you can view/print at
your leisure.

>Just thought I'd let you know.

Could anyone in future let me know privately of such problems? It saves
download time for the list readers in general & helps preserves the
tatters of my reputation ;)

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: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Tue, 21 Jul 1998 07:45:47 +0100
Subject: Re: To Nick Robinson

Matthias Gutfeldt <tanjit@BBOXBBS.CH> sez

> Maybe
>it's something browser-specific? I use Netscape 3.01, maybe newer or
>older or different browsers just can't handle the beauty of the

Nice words Matt - how much do I owe you? I test my pages on Netscape
3.01 & IE3 & they seem to work. I think the Demon server had a few
problems, hopefully now settled down.

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: Garrett Alley <garrett@INFOSPACE-INC.COM>
Date: Tue, 21 Jul 1998 08:14:05 -0700
Subject: OUSA Annual - Was: sci fi model base

I just received the package yesterday and I managed to fold the rocking horse.
     Even though the model is described as "Complex", I though it was more
     high-intermediate. (Unless I've improved my folding _that_ much ;) It
     turned out ok, for the first try. I

Anyway, I barely remembered to go to bed last night, as I was up very late
     (early?) folding various models from the book...

-g-

Way back when (At 09:38 PM 7/20/98 -0500), Perry Bailey sent me this:
>For those of you who have a copy of this years OUSA Annual, check on the docs
     for the rocking horse, it would make a wonderful base for a Cylon raider
     for Battlestar Gallactica, just a thought I had, but I can't remember what
     they looked like anymore.
>
>Perry





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Tue, 21 Jul 1998 08:28:44 -0700
Subject: Copy of Gross Book available

Pat Slider mentioned that the Origami Workshop book is out of print so I
thought someone out there may be interested in obtaining a copy that is
still on the shelf at my local Barnes & Noble.  If so, contact me privately
for arrangements.

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Tue, 21 Jul 1998 08:32:31 -0700
Subject: OUSA Annuals

Question for OUSA members:

If I joined OUSA around March-ish of this year, would I have received or
will I receive the OUSA annual for '98?  Perry posted a note about a
rocking horse model and I was feeling hopeful...

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Casida Mark <casida@ERE.UMONTREAL.CA>
Date: Tue, 21 Jul 1998 08:48:00 -0400
Subject: Re: Copyright?

Jeannine Mosely explained :

> You can visit the United States Patent and Trademark Office website at
> www.uspto.gov and search for Patent 4,517,251, but it doesn't give you
> much information.  They'll let you order a copy of any patent, but I
> think they charge too much.  Perhaps I should scan in the relevant
> portions for my website.  It's a design for a folded octahedron.
>
> I've never made any money off this one.  My Dad did it for me as a
> birthday present.  He thought the greeting card companies might mass
> produce pre-creased blanks with attractive patterns on them to sell as
> Christmas ornaments, but I didn't know how to contact the right
> people.  Anyway, I think it's expired now.
>
> The model whose patent is pending right now is one I taught at the
> OUSA convention a year ago, made with circular creases scribed with a
> compass.  This is a real pain to do by hand, but could be easily mass
> produced, pre-scored, with assembly instructions printed on the back
> and colored foil designs on the front.  It just might sell.

I think your Dad had a great idea for your birthday present.  I once
thought about becoming a patent lawyer (but changed my mind later).
It will be fun for me to visit the web site and search for the patent.
I enjoy your contributions to the list.  Keep up the good work!

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimie.umontreal.ca           |





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 21 Jul 1998 10:48:16 -0700
Subject: Re: identifying a couple of books

At 09:24 PM 98/07/21 +1000, you wrote:
>The second book is by Akira Yoshizawa, and has the letters "NHK" on the
>cover. My friend told me this the name of a television channel. The cover
>shows star constellations (a snake and a dog) as well as a dragonfly and
>grasshopper/cricket. I just wanted some background information on this
>book, such as was it a part of a TV program? and what is the actual title?

NHK is "Nihon Hoso Kyokai" which translates to "Japan Broadcasting
Association". It's much like the CBC (Canadian Broadcasting Corporation) or
the BBC (British...). In the USA, the closest comparison would be PBS. In
addition to TV shows & movies, they also publish books, videos, and
CD-ROMs. So, in this case, they are only the publisher of Yoshizawa's book.
There may have been a TV special that went with the book, but I don't know
for sure. Anyway, the book you ask about is called "Sosaku Origami", or
"Creative Origami".
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Tue, 21 Jul 1998 12:20:34 -0400
Subject: identifying a couple of books

The surest way of ID'ing a Japanese origami book
is to look on the cover for an ISBN number, and
let up know what that is. (Other particulars help
of course, but the ISBN numbers are definitive)

valerie





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Tue, 21 Jul 1998 12:24:05 -0400
Subject: OUSA Annuals

Steve, the Annuals aren't a benefit of membership, you
have to buy them. Usually members order theirs from
the Convention material packet. There was a form in
it where you could order either just the annual or
a "Sorry can't attend Kit" with Annual, T-Shirt, Button,
paper, etc. from the Convention.

If you don't do it then, order the Annuals through the
OUSA Supply Center (see the OUSA web site). Each volume
is about $25, and some back years are still available.

valerie





From: JacAlArt@AOL.COM
Date: Tue, 21 Jul 1998 12:32:26 -0400 (
Subject: Re: OUSA Annuals

As a contributor, I have to wait to receive my complementary copy. But I'd
love to know what's in it! Specifically -- what are the complex models? What
are the original models? ("Original" meaning "interesting" -- not another bear
or lion etc...)

~Alec





From: Robert Vandeberg <rvandeberg@SPRYNET.COM>
Date: Tue, 21 Jul 1998 13:13:37 -0600
Subject: Re: Anyone like double-sided-foil?

Brown Family wrote:

> Group
>
> I am going to have a booth at a craft show before Christmas to sell
> Tomoko Fuse four-sided boxes with lids and bases the same color.
>
> The models I have made and "given-away" to my friends, neighbors, and
> parents seem to draw the ravest reviews from the boxes with
> double-sided-foil.
>
> Though this type of paper cost 3 times more than regular origami paper.
> Do you think it is important to stock up on the double-sided-foil and
> create boxes out of that for the show or should I stick to regular
> origami paper? pepperb@erols.com
>
> Jeff Dean Brown

 As the artist, maybe you need to decide what is best in your eyes.  It is
impossible to please everyone.  Selling price maybe the criterion that may
people look at when buying.  Sorry this is not a direct answer to your
question.

A few wrinkles, but still a good model.
Vandy





From: Casida Mark <casida@ERE.UMONTREAL.CA>
Date: Tue, 21 Jul 1998 13:17:13 -0400
Subject: Re: Copyright?

Jeannine Mosely:

> You can visit the United States Patent and Trademark Office website at
> www.uspto.gov and search for Patent 4,517,251, but it doesn't give you
> much information.  They'll let you order a copy of any patent, but I
> think they charge too much.  Perhaps I should scan in the relevant
> portions for my website.  It's a design for a folded octahedron.

"Chouette!"  It took me a while to get on from Montreal, but it works!
What fun!  It must have been challenging to write origami instructions
in legalize:

  "A blank of foldable sheet material for folding a regular
   octahedron comprises a sheet of foldable material, such
   as paper, plastic sheet or metal foil, having the shape
   of a regular hexagon, without interior cuts or exterior tabs."

I guess that terms such as "rabbit ear folds" or "closed sinks" won't
work in this context ...

                                 ciao,

--
*-------------------------------------------------------*
|          Mark E. Casida                               |
|          e-mail: casida@chimie.umontreal.ca           |





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: Tue, 21 Jul 1998 14:24:13 -0500
Subject: Re: Folding Faces and ELVIS !

A non-origami friend of mine recently saw an origami book on the sale
table with the Silhouette of Elvis on the cover.

The way she described it, it sounded like it was the Kenneway book but I
do not see Elvis in my copy.

Does anyone know of any Elvis folds ? hehehe.

B R E T T

        -----Original Message-----
        From:   Robby/Laura/Lisa [SMTP:morassi@ZEN.IT]
        Sent:   Monday, July 13, 1998 1:42 PM
        To:     ORIGAMI@MITVMA.MIT.EDU
        Subject:        Re: Folding Faces

        Peter,
        At 18.10 13/7/1998 +0200, you wrote:

        >Scusa Roberto, I had to quote you for someone else ;)

        Nessun problema, Peter..... thanks for your publicity !

        I take the chance to tell that I still have a few copies of this
book
        (Italian Edition), available at $20 including airmail postage to
US. E-mail
        me first.

        Bye all,
        Roberto

        --
                 _\|/_
                ( o o )
        =====-oOO-(_)-OOo-========+
        Roberto Morassi           |
        Via Palestro 11           |  Please DON'T quote my full
        51100 PISTOIA             |  message in reply... I KNOW
        ITALY                     |  what I have written ! :-)
        tel & fax (+)39-0573-20436|
        E-mail <morassi@zen.it>   |





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 21 Jul 1998 15:16:43 -0700
Subject: Re: identifying a couple of books

At 06:27 PM 98/07/21 +0200, you wrote:
>This appears to be the following book:
>
>@Book{Yoshizawa:Sasaku,
>  author =       {Akira Yoshizawa},
>  title =        {Sasaku Origami},
>  publisher =    {NHK},
>  year =         {1984},
>  note =         {ISBN 4--14--031028--6}
>}

You are right, but there's a typo in your database. That should be "Sosaku"
or "Sousaku", not "Sasaku".
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca
