




From: Lynn & Ahliana Byrd <lnahbyrd@ONRAMP.NET>
Date: Tue, 04 Aug 1998 07:04:30 -0500
Subject: Reposting - Techniques for Decorating Paper

I am reposting this since it came through as junk the first time. Apologies.

I have in the past taken some nice washi paper and run it through my little
color printer and printed a young lady's name on the white side. I printed
it in small letters and in various colors. I did this on 6 sheets and then
made a Fuse hexagonal box such that the name showed as well as the pattern
(pinwheel, I think it was). I presented this to her for her birthday, along
with a book on making such boxes (she had previously seen mine and
expressed an interest). She was ecstatic, and it is now a treasure in her
room (and we are trying to get together because she wants to learn to do it
herself)!  :-)

A technique I have used to print patterns on precut paper is to use a tiny
sliver of tape at the top to hold the paper on a 8.5 x 11 page and run that
through the printer, so that I can print off the edge. This works for
patterns that have white spaces, so that one of those white spaces can be
at the top (or bottom, depending on your orientation) where the tape is. I
have been able to print on *some* colored papers well, but those that have
a waxy coating will not take the ink.

Ahliana Byrd
lnahbyrd@onramp.net





From: Lynn & Ahliana Byrd <lnahbyrd@ONRAMP.NET>
Date: Tue, 04 Aug 1998 07:06:25 -0500
Subject: Reposting - Thank You to So Many

I am reposting this as I sent it as junk the first time. Apologies.

I want to say thank you to Joseph Wu for maintaining such a wonderful page
and managing such a busy list. I don't know where you possibly find the
time, or the patience to deal with it all, but it is appreciated. You shine
a light in a weary world, you help us all to see, and to see each other so
we can help spread our own light. Thank you.

I also want to thank ALL of the folders who have ever had the generosity to
create diagrams and share them with others - this includes those who sell
them in books or through other outlets, as well as those who post them
freely. I have created a couple of models, and as soon as I can figure out
how to diagram them, I will (probably using CorelDraw). But the time and
effort of creating a model, from one-fold to the most complex is an art,
and I appreciate all of the people who share this art with the world
through allowing others to touch their art and allow them to attempt to
breathe their own bit of life into the art.

Ahliana Byrd
lnahbyrd@onramp.net





From: Steve Woodmansee <stevew@EMPNET.COM>
Date: Tue, 04 Aug 1998 08:35:16 -0700
Subject: Ahliana's lovely de-lurking

Dear Ahliana:

Thanks so much for those wonderful stories - it's one of the things I love
most about the list.

Contrary to some sentiments recently expressed, I don't look for
controversy and debate here - the net is rife with such opportunities.  The
Origami-l is a tranquil garden (or it was until all these ruffians came in
and started playing those loud arguments and trying to get everyone to go
out behind the barn ;^~)

No more lurking for you, Ahliana!

"Peace In Creases"

Steve Woodmansee
stevew@empnet.com





From: Lynn & Ahliana Byrd <lnahbyrd@ONRAMP.NET>
Date: Tue, 04 Aug 1998 09:01:26 -0500
Subject: Re: Origami Games

Are diagrams for these available? Is it in the BOS, or a book, or on web?
Or do you know how I might contact them? Many thanks.

>Peter Ford of Birmingham has created a few "burr" puzzles - interlocking
>shapes. There are also a number of geometric shapes that combine to
>produce (gasp) a different shape. Bob Neale has produced a number of
>intriguing puzzles.
>
>all the best,
>
>Nick Robinson

My original idea had been actually to make origami games and edible pieces
for a food display, but it would also be nice to be able to fold games at
will, and backgammon is one of my favorites. Hmmm, guess I'll need to learn
more and try to do it myself. Might take a few centuries for me, though.
<sigh>

Ahliana Byrd
lnahbyrd@onramp.net





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Tue, 04 Aug 1998 09:32:14 -0400
Subject: Re: Origami Puzzles (was Origami Games)

There is a set of tangrams in this years OUSA
Convention Annual book.

There are directions from making a set of 2 to 4
interlocking rings (Puzzle Ring Cube) on my web site.
The 3 and 4 ring versions can be transformed into
a cube, with a number of solutions, depending on
how you color the rings. For example, if you make
2 rings each of 2 colors, there are 4 solutions
i.e. 4 differently colored cubes, and you can
transit from one to the next.

I was informed by some folders from Argentina last
year that the three ring version of this puzzle had already
been published in the Japanese NOA magazine several
years ago, which I didn't know about when I invented
my PostIt version, but so far I haven't seen the 4 ring
version anywhere else.

The PostIt version on my web pages is best if reinforced
with some (gasp) glue or tape, but there are also
diagrams in PDF format showing a glueless origami
version.

valerie
Valerie_Vann@compuserve.com
  Mostly Modular/Geometric Origami Web Pages:
    http://people.delphi.com/vvann/index.html
    http://members.aol.com/valerivann/index.html
Magic Rose Cube (photos, no diagrams yet; I'm working on them!)
   http://people.delphi.com/vvann/magicros.html





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Tue, 04 Aug 1998 10:13:34 -1000
Subject: frog contest

Hi Joseph,
        I thought I'd check with you first if this message would be allowable
on the Origami-L.  I would be glad to change any part of it or to omit
it entirely if it is not proper.
        Thank you for your input.  I look forward to your response because of
your honesty and straight forwardness.
                Aloha, Jan

Origami folks,
        I've been looking in all my books and still haven't found a frog I
think suitable to replace the big void I have that Yoshizawa-san left.
I thought perhaps someone would/could create one that might work.  The
prize money is $100 if you created it and would give me the rights to
make the model commercially or a $50 finders fee if you find it in a
book and the creator permits me to use if commercially.
        REQUIREMENTS:  The model should be be "simple"...no more complex in
steps than the crane.  Even simpler is better; up to now, Yoshizawa's
frog found in MUSEUM OF ANIMALS I was perfect.  It should be somewhat
realistic looking.  I would like an example of a folded one plus a
diagram.  (If you want to withhold the diagram until the winner is
announced, that would be okay or if you want to send it with
stipulations that it not be used unless you become the winner that is
okay.  If you don't have diagrams but will allow me to reverse unfold it
to figure out how to fold it, that is okay.)  If you found it in a book,
I will need the name of the book, author, creator to get permission to
use it commercially.  If the chosen frog is the latter, it will take
time to announce the winner because my end goal is to find a frog I can
actually use.
        I have no deadline set yet but it will probably be when the winning
frog is found.
        Please send your frogs to:

Jan Fodor
367-E Kapaloala Place
Honolulu, Hawaii 96813

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





From: Russell Sutherland <RGS467@AOL.COM>
Date: Tue, 04 Aug 1998 12:49:43 -0400 (
Subject: SPECIAL GUEST tonight at Origami Talk

Origami Talk announces a special guest at tonight's chat @the Village:

"UNAFOLDER- Uncut......  A candid live conversation with the controversial
figure behind the scandal.  Meet the UNAFOLDER in person, and find out how
such a demented figure can be a part of the peaceful origami community.

Will the UNAFOLDER reveal his TRUE identity tonight???  POSSIBLY, but, don't
hold your breath....

The chat will be at its regular place and time.... 9PM EST @
http://www.the-village.com/origami/talk.html

ORIGAMI TALK is an EOC......equal opportunity chat!!!!  Please feel free to
drop by and put in your two cents.

Hope to see you there,

      Russell : \
RGS467@AOL.com

DARE TO FOLD!!!!!!!!!!!





From: Jason Todd <jrtodd@MS.COM>
Date: Tue, 04 Aug 1998 16:08:04 -0400
Subject: Re: new Tanteidan convention book

I just got mine today.  It's got quite a few cool models in it
including, but not limited to: the seated figure, F-5E, Harrier, witch
on a broom, centaur, moose, some train stuff (tracks, signals, etc),
godzilla, gamera, an egg-layer from aliens, "Glay" the arien[sic], a
giant panda, Peter Rabbit, some modulars, some dinosaurs, and a whole
lot more.

Looks to be worth the money...though I haven't had time to try any.

-Jason

-----Original Message-----
Sent: Saturday, August 01, 1998 11:27 AM

Hi everyone,

I was just looking at the Origami House home page in Japan and noticed
that
their new convention book (#4) is now out. Last year's book had such
nice
models as Yoda. This year's cover shows Takashi Hojo's Maitreya (a
seated
figure) which you might recall was on display at this year's Origami USA
convention.

You can find the book at:

http://www.remus.dti.ne.jp/~origamih/hanbai/shoseki1/ehpj111.htm

I'm contacting Sasuga bookstore now to find out about ordering info.

-Daniel Scher





From: Marcia Mau <maumoy@HOTMAIL.COM>
Date: Tue, 04 Aug 1998 16:52:24 -0700 (
Subject: Origami Puzzles

Willy Haarsma authored a booklet Origami Puzzel Varia which was
published by OSN in 1991.  There are 12 puzzles, including Soma, circus
tent, Pentominoes, salt drop (licorice), and octopus.  David Petty and
Willy Haarsma translated the text into English from Dutch.  Some of the
puzzles were displayed at BOS Birmingham '91.

I don't remember where I purchased Robert Neale's Circus Tent Puzzle
instructions, possibly at OUSA?

There was a backgammon board on display at the 1992 FOCA convention. The
triangles were lighthouses from Maying Soong's The Art of Chinese
Paperfolding and the game pieces were sailboats by Franco Pavarin.
Patricia Sisler may have folded the gameboard - I couldn't read all of
the description even w/ a magnifying glass.

Marcia Mau
Vienna, VA USA

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





From: Kim Best <kim.best@M.CC.UTAH.EDU>
Date: Tue, 04 Aug 1998 17:38:48 -0600
Subject: Re: Bah Humbug-- The Departure

Marc Kirschenbaum wrote:

> At 01:33 PM 8/2/98 -0400, Unafolder@AOL.COM wrote:
>
> >Any of you lurkers out there who want to fly into the interesting world of
> >origami: the anecdotes, the "pornogami" and the insightful, please e-mail me!
> >this ID will be shut down in exactly one week.   I'm joining alt.fan.strip-
> >club.
> . BTW, it was a different strip club newsgroup that did the
> origami invaision.

 Not only that, but if he thinks WE have a high garbage to information ratio,
     let
him join this group.  He ain't seen nuthin' yet!

--
Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





From: John Smith <jon.pure@PASTON.CO.UK>
Date: Tue, 04 Aug 1998 20:17:40 +0100
Subject: Origami evolution , a bit long.

Paul Jackson asked me to clarify what I meant by classic origami. He seemed
pleased with my efforts and I thought that other folders might, perhaps, be
interested in it.

I want to divide up the evolution of Origami into four categories.
Classical
Neo classical
Modern
Hyper-Modern.

Classical
The characteristics of what I have called classical Origami are that it uses
symmetry both in the paper and in the actual folding. Thus Square or
hexagonal paper is used and the bases all have a deep symmetry.
We do not know of any creators of the models which seem to be handed down
within families as an ephemeral folk craft. There seems little or no
innovation thus
the balloon, or waterbomb, has been known in the West for some four hundred
years. The models result from folding which employs landmarks derived from
previous folds or the boundaries of the paper. The models are in the main
toys or tricks usually 3 D , but in the case of Japan they also had
decorative or symbolic folding. In Japan in an attempt to enhance the
richness of the medium cutting was employed. This does not seem to be the
case in the West.
Neo Classical
In the 1990 Forties we see the emergence of creative folders notably
Yoshizawa and Uchiyama. They still, however, used the classical bases and
employed symmetry in the folding. In an attempt to increase the resources
offered by folding Yoshizawa used two piece models. We also saw the
introduction of the blintzed bird base which added to the number of points
available for models. In the neo- classical Origami thus we still see
symmetry in both the paper and the folding of the Classical, but there is a
new concentration on the final outcome and Origami begins to emerge as a
potential art form. Towards the end of the new classical period we see the
publication of individual folders creations, notably Yoshizawa's in Japanese
women's magazines.

Modern
In the search for greater realism and increased potential for individual art
expression the modern approach to Origami explored new bases and broke away
from the use of the square. We also see the use of foil and wet folding that
permitted some moulding of the final models. In the modern era there was the
beginning of geometric folding and the employment of modules. Increasingly
there was a movement away from symmetrical bases, landmarks and classical
ideas. The leaders in this movement were Elias , Rohm and Yoshizawa.
Hyper-modern
We now see the strong emergence of Origami viewed at as an art form in its
own right. Thus the concentration is on the appearance of the completed
models. The leaders in the hyper modern movement are Lang, Montrol, Bateman,
Maekawa, and Joise amongst many others. We now see the use made of
computers to design the fold patterns that are required to obtain the
points, patterns and distances the artist needs. It is no longer possible to
find simple landmarks with which to locate the folds. The use of wet folding
now permits extensive moulding of the final result and in the case of Eric
Joisel we are almost in the realm of sculpture. Folding now tends to be
highly complex and often involves the special selection and pre-decoration
of the paper. Many creative folders now seek to sell their work as art and
this puts increasing emphasis on a final product that is unique and
permanent.
To sum up then;-
Classical.
Simple symmetric folding as a ephemeral folk craft making toys, tricks or
decorations.
Neo Classical.
Still using the classical approach but seeking realism. The beginning of
individual creators.
Modern.
Origami emerging as an Art form, attempts to enrich the media by wet folding
and modules. The beginning of the breakaway from strong symmetry and
landmarks. Geometric folding attracts a considerable following.
Hyper-modern
Creators seeking a saleable end product. Highly complex models and the use
of computers to design and locate the basic folds. Pre-treatment of the
paper and extensive 3D moulding.

Welcome to all those who have reached the end of this dubious epic.

My thanks and best wishes

John Smith





From: Judy D Pagnusat <judypag@JUNO.COM>
Date: Tue, 04 Aug 1998 20:19:45 -0700
Subject: Re: My own origami club... What should i do?

Richard,
I am a member of a club in California USA
We meet once a month and we generally plan ahead this month what we plan
on doing next month.  We also do an informational newsletter once a
quarter to let everyone know when we are meeting.  Our club expectations
of everyone are that they always bring either something to share or
something that they are working on that the group can help them with.  We
do this to make sure it is not always the same person(s) teaching.  Other
clubs do different things, that gives you and idea how one club works.

Judy
On Wed, 5 Aug 1998 12:11:31 +1000 "Richard 'of' Foong" <ryf@ECR.MU.OZ.AU>
writes:
>Hi everyone,
>        I've just formed a Origami Club at my uni, and, was wondering
>if
>anyone had any suggestions on how i can run this club. Should i have
>meetings once a week? or a fortnight? I was really wondering what
>should

>we do in the meeting.
>
>If anyone has any suggestions, please, feel free to write away.
>
>btw, if anyone is studying at Melbourne Uni, ask me about the club!
>
>Richard Foong.
>

_____________________________________________________________________
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: Kim Best <kim.best@M.CC.UTAH.EDU>
Date: Tue, 04 Aug 1998 20:25:00 -0600
Subject: All in One -- Backcoating?

At this summers OUSA convention.  I attended Courtney Spooners class on
backcoating.  In it she recommended the use of a product call Metylan
Cellulose.   But try as I might, I have not been able to find it in any
of the local wallpaper stores.  Instead, they all carry a product called
"All in One", that is supposed to replace Methol Cellulose powder.

Has anyone used this product for backcoating?  Is it any good?  Is it
usable at all?  Is it environment friendly?  Would I die if I swallowed
any of this stuff?  And lastly, does anybody know of any large outlets,
(Ones that would have a branch in Salt Lake), that carries real methol
cellulose?

--
Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





From: Chinh Nguyen <chinhsta@GWIS2.CIRC.GWU.EDU>
Date: Tue, 04 Aug 1998 20:32:51 -0400
Subject: Re: new Tanteidan convention book

On Tue, 4 Aug 1998, Jason Todd wrote:

> I just got mine today.  It's got quite a few cool models in it
> including, but not limited to: the seated figure, F-5E, Harrier, witch
> on a broom, centaur, moose, some train stuff (tracks, signals, etc),
> godzilla, gamera, an egg-layer from aliens, "Glay" the arien[sic], a
> giant panda, Peter Rabbit, some modulars, some dinosaurs, and a whole
> lot more.
>
> Looks to be worth the money...though I haven't had time to try any.
>
> -Jason

I was wondering... does this Tanteidan book (or any of the previous) have
Hojo's violinist?  For that matter, is there any way to get previous
books?





From: Sam Kendig <neuro_mancer42@YAHOO.COM>
Date: Tue, 04 Aug 1998 20:51:58 -0700
Subject: Re: All in One -- Backcoating?

Well, I know of one source of methol cellulose off the top of my head,
but it's sold in quantities too small to be useful, as a product
called ProtoSlow (or maybe ProtoSlo). It's used by biologists (I just
finished 9th grade biology) to slow down microscopic organisms,
allowing them to be observed without moving away too fast. However,
it's sold in tiny bottles, and I can't imagine it would be useful in
backcoating.

Just a thought,
Sam
Neuro_Mancer42@yahoo.com

_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com





From: Kenny1414@AOL.COM
Date: Tue, 04 Aug 1998 22:24:24 -0400 (
Subject: Re: frog contest

In a message dated 98-08-04 16:20:34 EDT, you write:

>         I've been looking in all my books and still haven't found a frog I
>  think suitable to replace the big void I have that Yoshizawa-san left.

Aloha Ms. Jan Fodor,

There is an elegant Frog
(elegant: only 16 folds from a waterbomb base),
at once abstract and realistic,
in the 1984 British Origami booklet #19,
    "Anthony O'Hare, Creations 1973 to 82",
    by Daniel G. Mason,
    no ISBN on my copy.

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





From: Lynn & Ahliana Byrd <lnahbyrd@ONRAMP.NET>
Date: Tue, 04 Aug 1998 22:28:15 -0500
Subject: Re: frog contest

My favorite is the American Frog from Kenneway's Complete Origami, p 71. I
make it quickly and easily for kids, it jumps wonderfully, although this is
may not be what you are looking for. Hope it works out.

Ahliana Byrd
lnahbyrd@onramp.net





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Tue, 04 Aug 1998 23:01:16 -1000
Subject: Re: frog contest

Hi friends,
        My apologies to the net and to Joseph Wu.  I inadvertently sent the
letter to the list before sending it to Mr. Wu and I'd like to give him
a chance to respond before making this contest official.  Would you
please hold your frogs for the moment.
                Thank you, Jan





From: Elizabeth George <emgeorge@MSN.COM>
Date: Tue, 04 Aug 1998 23:27:42 -0400
Subject: Re: All in One -- Backcoating?

Try Fascinating Folds, I can't be sure, but I think I've seen methyl
cellulose on their list of goodies, and I don't think it's the least bit
toxic, someone else on the list can prob'ly give you a specific chemical
breakdown, but seems like it might even be edible (tho not too tasty!)





From: Kenny1414@AOL.COM
Date: Tue, 04 Aug 1998 23:55:50 -0400 (
Subject: Re: All in One -- Backcoating?

In a message dated 98-08-04 23:11:10 EDT, you write:

> And lastly, does anybody know of any large outlets,
>  (Ones that would have a branch in Salt Lake), that carries real methol
>  cellulose?

I believe that's spelled "methyl cellulose".

Aloha,
kenny1414@aol.com    (Kenneth Kawamura)





From: Dribalz@AOL.COM
Date: Wed, 05 Aug 1998 00:33:56 -0400 (
Subject: $ folds

OK Allen Parry, you definitely have a lot more $ folds than me.  Now my
question is  (and I asked you this at the convention in June)  when do you
publish your book?  There are a lot of us money folders out there, and
(speaking for myself) I would gladly pay top $ (pun intended) for seeing  your
folds.  How about it Allen?

PS  I thoroughly enjoyed learning the $ bill matchbox from you in your class.

Andrew Hans
Dribalz@aol.com





From: PErick3491@AOL.COM
Date: Wed, 05 Aug 1998 00:48:33 -0400 (
Subject: Re: Origami evolution , a bit long.

Thank you.  I enjoyed that synopsis.  I had not really understood the various
stages. Pat





From: Marc Kirschenbaum <marckrsh@PIPELINE.COM>
Date: Wed, 05 Aug 1998 01:00:48 -0400
Subject: Re: All in One -- Backcoating?

At 08:25 PM 8/4/98 -0600, Kim Best <kim.best@M.CC.UTAH.EDU>  wrote:

>Has anyone used this product for backcoating?  Is it any good?  Is it
>usable at all?  Is it environment friendly?  Would I die if I swallowed
>any of this stuff?  And lastly, does anybody know of any large outlets,
>(Ones that would have a branch in Salt Lake), that carries real methol
>cellulose?

Check the ingredients on this "All in One." Chances are, it is just Methyl
Cellulose with some additives/preservitives. This could be okay, but some
of those extra things might be slightly acidic, which is why the purer form
is better. As for the safty of the pure form, in fact, it is used in foods,
so it is certainly not toxic. However, in it's powder form it is very
dangerous to inhale. If you do inhale it, the powder expapnds upon contact
to moisture, and will cause yo to choke to death (spray adhesive sort of
sounds safer).

Marc





From: tommy <tomkat@DALLAS.NET>
Date: Wed, 05 Aug 1998 01:42:03 -0500
Subject: Re: [NO] All in One -- Backcoating?

Marc Kirschenbaum wrote:

[snip -- other info about All in One]
> As for the safty of the pure form, in fact, it is used in foods,
> so it is certainly not toxic. However, in it's powder form it is very
> dangerous to inhale. If you do inhale it, the powder expapnds upon contact
> to moisture, and will cause yo to choke to death (spray adhesive sort of
> sounds safer).

Marc is right, methyl cellulose is nontoxic, however...
Choke to death? From inhaling methyl cellulose? Is this an urban legend?
I seriously don't think so... I mean you'd have to stick your head in a
bag of the stuff and inhale as hard as you could. Of course you
shouldn't inhale the dust if you can avoid it. Check out a Material
Safety Data Sheet for methyl cellulose, it will clear your mind:
http://MSDS.PDC.CORNELL.EDU/msds/hazcom/219/59416.txt
http://MSDS.PDC.CORNELL.EDU/msds/msdsdod/a114/m56754.htm

As far as spray adhesives are concerned they can be pretty dangerous. I
have a can of Elmer's Acid Free Craft Bond and the side label on it
reads like a horror story. Maybe there are safer spray adhesives but
mine contains acetone, n-heptane, and dimethyl ether. Interested persons
can find MSDS for many chemicals here:
http://MSDS.PDC.CORNELL.EDU/issearch/msdssrch.htm

Be careful out there.
Tommy





From: DLister891@AOL.COM
Date: Wed, 05 Aug 1998 06:51:43 -0400 (
Subject: Shari Lewis and Lillian Oppenheimer

Dorothy Engleman wrote to us yesterday to tell us the sad news that Shari
Lewis had died. She suggested that I might fill in the details of Sharis
association with Lillian Oppenheimer.  When Shari Lewis was performing her
shows on television , her material was really outside my age-range as a young
man, but I do remember seeing Lamb Chop and the amazing way  Shari had of
bringing to life a puppet made from no more than her thumb an forefinger. A
little later, after I came to know about Lillian and the Origami Center,
Sharis name began to crop up more frequently. Once or twice, when I met
Lillian, I asked her about Shari Lewis and how their books came about. So I am
pleased to be able write a few notes about them.

                        SHARI LEWIIS  and  LILLIAN OPPENHEIMER.

Lillian was married to Harry Oppenheimer in 1954. It was a true love match and
Lillian and Harry did everything together, from making music to flying round
the world. On Saturday mornings they used to watch a childrens television
programme together. Shari Lewis was one of the stars of the show and Lillian
was greatly impressed by her. Somewhat typically, Lillian was seized with an
ambition to learn the art of ventriloquism. One day Lillian and Harry were
watching the programme in the company of a friend, and when the credits came
up, she realised that she know  knew the producer of the show. This gave
Lillian her contact and she was able to engineer a meeting with Shari Lewis.

I seems that Lillian wanted to learn to be a ventriloquist. Shari recommended
that she should take lessons and gave Lillian the name of the best teacher in
New York, the only one she could recommend. Lillian found the teacher and he
arranged to visit her at her home in Grammercy Park. Lillian embarked on a
course of ten lessons, which she paid for  by taking a part-time position at
Maceys department store. She sold ribbons by demonstrating how to make bows
with them. Lillian related  how thrilled she was to be actually earning money
for herself, instead of having it provided for her by her husband ofrfamily.

We do not hear much more of Lillians ventriloquism. Origami became her
dominant passion, but she often combined the two hobbies by folding birds and
animals and entertaining children by making her creations talk.

The Origami Center was founded as a limited series of classes on 6th October
1958 and was quickly accompanied by a newsletter called "The Origamian". The
second issue contains a list of honorary members of the Origami Center and it
is interesting that  among them is Shari Lewis, of Televisions "Hi Mom".
Richard Bruno, Ventriloquist, is also listed a an honorary member. He must
have been the teacher of ventriloquism to whom Shari Lewis sent  Lillian.

Lillian said that Shari loved Origami and was able to introduce it into her
television show, where the models were suited to her table-top approach. Shari
said that  Origami brought her a lot of extra fan mail.

Lillian visited Shari occasionally and gave her models to fold. In the
"Lillian Oppenheimer Interview" in the Friends Newsletter for the Fall of
1992, Lillian recalled how Shari used to ask Lillian to meet her at the
hairdressers and how  they talked while she had her nails manicured! Then she
put her head under the drier, picked up the script for her next show and the
interview was over. Shari Lewis was certainly a highly organised business
woman!

A year or two after the Origami Center was formed, Shari approached Lillian
with a suggestion that they should join in writing a book about paperfolding
and puppetry. She was already a successful writer with some fifty books to her
credit so that she was confident she could arrange publication. Lillian
readily agreed, but it was Shari who actually wrote the book; Lillian merely
supplied the models. Even a chapter on teaching Origami was not actually
written by Lillian, but was put together from someones notes of a teaching
session she had given.

Harry Oppenheimer died early in 1962 and  "Folding Paper Puppets", under the
joint names of Shari Lewis and Lillian Oppenheimer came out later in the same
year. It was dedicated "To the Joyous Memory of Harry Oppenheimer".

"Folding Paper Puppets" was followed by "Folding paper Toys" in 1963 and by
"Folding Paper Masks" in 1965. "Folding paper masks included models by
Giuseppe Baggi, the extraordinary paperfolder with a spontaneous talent, who
used to attend meetings of the origami Center. As before,, Shari Lewis wrote
the books, while Lillian supplied the models.

It was through publicity for  the books that Lillian was invited to appear on
television and became known as "The Origami Lady". Another visitor to the same
studio was Alice Grey and it was indirectly through this that Lillian and
Alice became acquainted. But that is another story.

Following Harrys death Lillian, the full life that they had led together came
to an end and Lillian began to feel restless.. She moved to live in Greenwich
Village and saw an advertisement about puppetry in  a paper circulating in the
village, not far from her new home. So she decided to go along to a meeting.
As Shari Lewis had amply demonstrated, puppetry was a natural extension of
ventriloquism and Origami fitted in with both. Lillian learnt how to
manipulate puppets and her new interest soon came to rival her interest in
Origami to the extent , It seems, that at one time Origami was in danger of
being completely displaced. Lillian had a full-scale puppet theatre built in
her apartment  and held frequent puppetry meetings there. She became one of
the founder members of the Puppetry Guild of Greater New York. Nevertheless,
Lillian continued to hold paperfolding sessions once a month on "Origami
Mondays" and in the end, it was for Origami that Lillian will always be
remembered.

As Shari Lewis smiles out from the pages of the three books she co-authored
with Lillian Oppenheimer, it is hard to think of her reaching old age.
However, it is also hard to realise that on 6th October of this year, it will
be forty years since the Origami Center was founded and on 24th  October we
will be celebrating the 100th birthday of Lillian. Both Lillian and Shari and
Lamb Chop will be forever young in our memories.

David Lister.

Grimsby, England.

Dlister891@AOL.com





From: Richard 'of' Foong <ryf@ECR.MU.OZ.AU>
Date: Wed, 05 Aug 1998 12:11:31 +1000
Subject: My own origami club... What should i do?

Hi everyone,
        I've just formed a Origami Club at my uni, and, was wondering if
anyone had any suggestions on how i can run this club. Should i have
meetings once a week? or a fortnight? I was really wondering what should
we do in the meeting.

If anyone has any suggestions, please, feel free to write away.

btw, if anyone is studying at Melbourne Uni, ask me about the club!

Richard Foong.





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: Wed, 05 Aug 1998 08:05:09 +0100
Subject: Re: frog contest
Kenny1414@AOL.COM sez

>There is an elegant Frog
>(elegant: only 16 folds from a waterbomb base),
>at once abstract and realistic,
>in the 1984 British Origami booklet #19,
>    "Anthony O'Hare, Creations 1973 to 82",

I can recommend this booklet to anyone & everyone - Tony's creations are
highly personal and original (a rarity these days). His choice of
officer for the BOS & has put together a web-site for the Bristol
Origami Group at;

www.bristol.digitalcity.org/org/leisure/origami/index.htm

Can I take this opportunity to say that the BOS supplies (new!
improved!) will be on-line within a few weeks?

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: John Sutter <sutterj@EARTHLINK.NET>
Date: Wed, 05 Aug 1998 08:09:09 -0700
Subject: Looking for Trout model

Hi everybody,
     Any fly fishermen on the list?  Where could I find a Trout model
diagram?  I've looked through many books
and only have found sea life.  I would like to suprise my husband John with
a trout model that I can fold.
Should I look at the archives from Joseph Wu's page or go to OUSA index?
Help, please.
Ria Sutter





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Wed, 05 Aug 1998 10:03:28 -1000
Subject: Re: frog contest

Paul & Jan Fodor wrote:
>

> Origami folks,
>         I've been looking in all my books and still haven't found a frog I
     think suitable to replace the big void I have that Yoshizawa-san left.
> I thought perhaps someone would/could create one that might work.  The
> prize money is $100 if you created it and would give me the rights to
> make the model commercially (just to make into jewelry for sale) or a $50
     finders fee if you find a model a> book and the creator permits me to use
     if commercially.
 REQUIREMENTS:
1. The model should be be "simple"...no more complex in
> steps than the crane.  Even simpler is better; up to now, Yoshizawa's
> frog found in MUSEUM OF ANIMALS I was perfect.  I need to be able to fold it
     with 1" paper.

2.It should be somewhat realistic looking. Ideal is a frog with an open
mouth that looks like a frog.

3.  I would like an example of the folded model , plus a
> diagram.  (If you want to withhold the diagram until the winner is
> announced, that would be okay or if you want to send it with
> stipulations that it not be used unless you become the winner, that is
> okay.  If you don't have diagrams but will allow me to reverse unfold it to
     figure out how to fold it, that is okay.)

4. If you found it in a book,
> I will need the name of the book, author, creator to get permission to
> use it commercially.  If the chosen frog is the latter, it will take
> time to announce the winner because my end goal is to find a frog I can
     actually use.
>         I have no deadline set yet but it will probably be when the winning
     frog is found.
>         Please send your frogs with your instructions, name, address, and
     email to:
>
> Jan Fodor
> 367-E Kapaloala Place
> Honolulu, Hawaii 96813
>
> Official entry to this contest is the frog model sent to me.  I have been
     having suggestions sent to me by email by lovely people simply wanting to
     help, I think, so to keep the contestants clearly marked, I am making this
     a requirement.  Also, I just r

Reviewed and rejected models--from:

World of Origami by Isao Honda
Joy of Origami by Toshie Takahama
Origami Treasure Chest by Keiji Kitamura
Fantastic Folds by Andrew Stoker & Sasha Williamson
Origami Made Easy by Kunihiko Kasahara
Paper Pandas and Jumping Frogs by Florence Temko
Origami Zoo by Robert Land & Stephen Weiss
Animal Origami for the Enthusiast by John Montroll
Complete Origami by Eric Kenneway

        Thank you all for your indulgence regarding this long email.  Further
email may be directed to me personally or if you think others would like

Aloha nui loa, Jan
email: origami@aloha.net
> <http://www.gotomymall.com/hawaii/origami/>
> Origami by Jan website...the Fodor folder

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





From: Dahlia Schwartz <dahlias@BU.EDU>
Date: Wed, 05 Aug 1998 10:10:07 -0400
Subject: Re: Origami Puzzles (was Origami Games)

As long as we're on the topic -- has anyone successfully folded Mr. Brill's
     flex-a-cube
(model name may be incorrect -- the book is as yet unpacked)?  Any tips for
     those of us
who made the mistake of trying to use glue & glued together parts that are
     supposed to
flex?

-dahlia





From: Dahlia Schwartz <dahlias@BU.EDU>
Date: Wed, 05 Aug 1998 10:16:01 -0400
Subject: Re: All in One -- Backcoating?

Kim,

I don't even know what "back-coating" means, but my spouse does paper
marbeling using methol cellulose that we found at a local paint store.
It's totally massively cheap (that's a quote).   If you can't find it
still, let me know, and when we manage to unpack the crafts stuff from
(just moved) we'll see if we can find the mfctr for you or if we can figure
out what store we got it from ...

-Dahlia

Kim Best wrote:

> At this summers OUSA convention.  I attended Courtney Spooners class on
> backcoating.  In it she recommended the use of a product call Metylan
> Cellulose.   But try as I might, I have not been able to find it in any
> of the local wallpaper stores.  Instead, they all carry a product called
> "All in One", that is supposed to replace Methol Cellulose powder.
>
> Has anyone used this product for backcoating?  Is it any good?  Is it
> usable at all?  Is it environment friendly?  Would I die if I swallowed
> any of this stuff?  And lastly, does anybody know of any large outlets,
> (Ones that would have a branch in Salt Lake), that carries real methol
> cellulose?
>
> --
> Kim Best                            *******************************
>                                     *          Origamist:         *
> Rocky Mountain Cancer Data System   * Some one who thinks paper   *
> 420 Chipeta Way #120                * thin, means thick and bulky *
> Salt Lake City, Utah  84108         *******************************





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Wed, 05 Aug 1998 10:53:45 -0400
Subject: Re: Origami Puzzles (was Origami Games)

what book?





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Wed, 05 Aug 1998 11:07:17 -0700
Subject: Re: frog contest

At 11:01 PM 98/08/04 -1000, you wrote:
>Hi friends,
>        My apologies to the net and to Joseph Wu.  I inadvertently sent the
>letter to the list before sending it to Mr. Wu and I'd like to give him
>a chance to respond before making this contest official.  Would you
>please hold your frogs for the moment.
>                Thank you, Jan

Jan, you are free to make whatever contests you want on this list. I am the
list "owner" only in the sense of administering the technology, not as a
police officer. And, please, call me "Joseph". 8)
----------------------------------------------------------------
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: Wed, 05 Aug 1998 11:12:25 -0700
Subject: Methyl Cellulose (was Re: All in One -- Backcoating?)

At 08:25 PM 98/08/04 -0600, you wrote:
>At this summers OUSA convention.  I attended Courtney Spooners class on
>backcoating.  In it she recommended the use of a product call Metylan
>Cellulose.   But try as I might, I have not been able to find it in any
>of the local wallpaper stores.  Instead, they all carry a product called
>"All in One", that is supposed to replace Methol Cellulose powder.
>
>Has anyone used this product for backcoating?  Is it any good?  Is it
>usable at all?  Is it environment friendly?  Would I die if I swallowed
>any of this stuff?  And lastly, does anybody know of any large outlets,
>(Ones that would have a branch in Salt Lake), that carries real methol
>cellulose?

Others have commented on methyl cellulose, its availability, and its
toxicity. I'd like to point out that pure methyl cellulose is a very safe
substance, often used as the base for things like cough syrup. Try to find
the pure stuff if you can. Metylan cellulose contains some sort of
preservative. You can tell by taste: metylan cellulose tastes bitter while
pure methyl cellulose is tasteless. Most wallpaper pastes are based on
methyl cellulose, with other ingredients mixed in. Another possible name to
search under is "bookbinder's paste". Good luck! As for "All in One", I've
never heard of it, but if it's mainly methyl cellulose, it should work just
fine.
----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t:604.730.0306 x 105   f: 604.732.7331   e: josephwu@ultranet.ca





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Wed, 05 Aug 1998 13:39:06 -0700
Subject: fly fold for fisherman

Hi again,
     Thanks for your responses about fish models.  I'm only an intermediate
level folder, so the salmon
model that resembles a trout would probably be too hard for me if it's a
complex fold.  On the otherhand
if there's an insect I could use that isn't too hard that's a good option
too.  Any more suggestions are
welcome.
     And while I'm thanking people, I just wanted to say that the tips I got
before for large origami
models for display worked out very well.  I used cardboard backing for the
penquins and giant panda and
Fadless paper for folding.  They are going to look great with the kid's
dioramas in my Origami Gardens
display at the library.
Ria Sutter





From: Jason Todd <jrtodd@MS.COM>
Date: Wed, 05 Aug 1998 13:59:37 -0400
Subject: Re: new Tanteidan convention book

I don't have the first one, but I was able to order volumes 2 and 3 as
well as the new one (4) by talking to some of the Tanteidan members at
the OUSA convention.

The models by Takashi Hojo that I could find are (described by me [I
have no idea what their titles are]):
        Vol. 2  Wizard with staff
        Vol. 3  Skull
        Vol. 4  Witch on a broom
        Vol. 4  Seated figure

-----Original Message-----
Sent: Tuesday, August 04, 1998 8:33 PM

On Tue, 4 Aug 1998, Jason Todd wrote:

> I just got mine today.  It's got quite a few cool models in it
> including, but not limited to: the seated figure, F-5E, Harrier, witch
> on a broom, centaur, moose, some train stuff (tracks, signals, etc),
> godzilla, gamera, an egg-layer from aliens, "Glay" the arien[sic], a
> giant panda, Peter Rabbit, some modulars, some dinosaurs, and a whole
> lot more.
>
> Looks to be worth the money...though I haven't had time to try any.
>
> -Jason

I was wondering... does this Tanteidan book (or any of the previous)
have
Hojo's violinist?  For that matter, is there any way to get previous
books?





From: Chris T Durham <gandalf_15@JUNO.COM>
Date: Wed, 05 Aug 1998 14:49:31 -0400
Subject: ATTN! TO ALL THIS MESSAGE REACHES! IMPORTANT!

PLEASE, ALL TAKE NOTE! Due to uncontrollable circumstances, PLEASE SEND
ALL EMAILS TO ME AND OR fold4god@juno.com TO gandalf_14@hotmail.com.
PLEASE REPLY TO THIS MESSAGE AT gandalf_14@hotmail.com.

AGAIN, I WILL NOT RECIEVE EMAIL HERE, SEND IT TO gandalf_14@hotmail.com.
THANK YOU!!!





From: Pat Slider <slider@STONECUTTER.COM>
Date: Wed, 05 Aug 1998 15:14:36 -0700
Subject: Interesting paper site.

Came across this paper site today:

http://www.intersurf.com/~redstic/Paper/Paperart.htm

Of interest perhaps are the pages called include "Exotic Papers of the
World," which discuss various kinds of paper (mostly papers from
Fascinating-Folds). Also fun is a page on making paper using an embroidery
hoop mould and deckle, and multiple pages on paper decoration methods.

pat slider.
slider@stonecutter.com





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Wed, 05 Aug 1998 15:22:04 -1000
Subject: Re: frog contest

Thank you Ken and Nick for your lead on a possible frog.  Tony has
contacted me and I am now in the process of purchasing the book through
BOS.  I am looking forward to seeing all these frogs.
Aloha, Jan





From: Pat Slider <slider@STONECUTTER.COM>
Date: Wed, 05 Aug 1998 15:43:55 -0700
Subject: Re: Methyl Cellulose (was Re: All in One -- Backcoating?)

Might have better luck buying Methyl Cellulose in a large hardware store
than in a wallpaper/paint store. But if you don't have any luck you can
mail order some from Magnolia Editions (in Oakland):

http://artfolio.com/magnolia

They sell an archival grade of the stuff. "Archival" meaning here that it
has been adjusted for ph. Might want to consider it if you are wanting to
fold something to last. hmmmm. Expect Fascinating Folds has an "archival"
grade too...or Dick Blick or any papermaking supplier.

(Noteworthy if you are in the Bay Area: Magnolia occasionally has Japanese
papermaking workshops. They sell kozo and gampi and ???)

pat slider
slider@stonecutter.com





From: Bryan Feir <jenora@ISTAR.CA>
Date: Wed, 05 Aug 1998 16:01:29 -0400
Subject: Re: All in One -- Backcoating?

On Tue, 4 Aug 1998, Kim Best wrote:

> Has anyone used this product for backcoating?  Is it any good?  Is it
> usable at all?  Is it environment friendly?  Would I die if I swallowed
> any of this stuff?  And lastly, does anybody know of any large outlets,
> (Ones that would have a branch in Salt Lake), that carries real methol
> cellulose?

   Well, Canadian Tire carries real Methyl Cellulose, but while they are
definitely a 'large outlet' they probably don't have a branch in Salt
Lake City.

---------------------------+---------------------------------------------------
Bryan Feir           VA3GBF|"Advertising may be described as the science of
bryan@sgl.crestech.ca      | arresting human intelligence long enough to get
jenora@istar.ca            | money from it."          -- Stephen Leacock





From: Alasdair Post-Quinn <acpquinn@PANTHER.MIDDLEBURY.EDU>
Date: Wed, 05 Aug 1998 16:35:23 -0400
Subject: Re: Looking for Trout model
At 08:09 AM 8/5/98 -0700, you wrote:
>Hi everybody,
>     Any fly fishermen on the list?  Where could I find a Trout model
>diagram?  I've looked through many books
>and only have found sea life.  I would like to suprise my husband John with
>a trout model that I can fold.
>Should I look at the archives from Joseph Wu's page or go to OUSA index?

there's a wonderful salmon in issei yoshino's super-complex book. the model
itself isn't "super-complex" (and neither is most of the book), but it's
still not a trout. sorry, it was the best i could do.

peace,
alasdair





From: DLister891@AOL.COM
Date: Wed, 05 Aug 1998 16:48:48 -0400 (
Subject: Origami Evolution.

John Smith certainly raises some difficult issues in his posting of 4th
August.

May I say, first, that I broadly agree with his division of the evolution of
origami into four general periods. The evolution of paperfolding from an
traditional pastime into a self-conscious art form can be conveniently divided
in this way. That is provided that the divisions are taken as general periods
in time and not as definitions of particular styles of paperfolding.

I would, however, choose different names from those chosen by John for the
four  periods. I should prefer the following names for names for John's
Classical, Neo-Classical, Modern and Hyper-Modern, namely:

Primitive,
Classical
Experimental,
Modern.

The next point I want to make is that "classical" and "classic" are words
which have different meanings (although in practice, there is much confusion).
Both words are capable of several definitions. Classic  usually  means "of
acknowledged excellence". It does not indicate a particular style of art. One
can, for instance talk of classic Jazz or of classic Rock.

"Classical" has more meanings, often very distinct ones.. It may relate to the
art of classical Greece or Rome. (Obviously that meaning will not apply to
paperfolding). In music, its common meaning is to distinguish classical music
from popular music. But within the context of classical music itself, it is
used to distinguish music of the classical style (e.g. the music of Haydn and
Mozart and their contemporaries) from that of other styles such as Baroque or
Romantic.  There are somewhat different usages in the visual arts. However,
the general meaning of "classical" in the arts, whether music, painting or
architecture is to indicate art which follows ideal forms and which possesses
serenity, restraint and balance. This meaning contrasts in differing contexts
with with terms such as as  "baroque" or "expressionist" or "romantic"

I will consider in turn, John's four catagories or periods, as I prefer to
call them.

Classical (JS)     Primitive (DL) :

I find it difficult to apply the word "classical" in the sense that I
understand the word, to traditional folding, even though many of its models
use symmetry. I do not consider that because something is symmatric it is
necessarily classical, despite the fact that what is classical is often
symmetrical. I find it even less appropriate to apply the term "classical" to
the early adult folding of Japan from the Senbazuru Orikata, through the
Kayaragusa, to the work of Michio Uchiyama, all of which styles which use
extensive cutting. My preferred term for the folding of this period would be
"Primitive".

Neo Classical (JS)     Classical  (DL):

I would prefer to use the term "Classical" for this period, when Yoshizawa and
to a less extent Uchiyama were bringing about a revolution in paperfolding., I
would also add the work of the Spaniard, Unamuno and also Solorzano and Ligia
Montoya in Argentina..They certainly used the bird and frog bases (which I
would term "classic", not "classical"). Their techniques were restrained and
their models balanced. Except in very few instances, there was still no use of
blintzed bases, even though both Yoshizawa and Uchiyama made detailed studies
of fundamental crease patterns.

Modern (JS)      Experimental  (DL)

This was the great period of experiment and change. Elias, Rohm and Yoshizawa
were only three of the folders of the era who were striving to find more ways
of escaping from the confines of the square. I would add to these, at least
Skillman, Cerceda, Rhoades, Nakano, Hulme, Brill and Wall. Others folders of
this period explored the possibilities of modular folding. Blintz folding
greatly extended the potentialities of the classic bases. Other lines of
exploration were in the direction of box-pleating. Almost daily, the
techniques of paperfolding were extended beyond what had hitherto been thought

Hyper-Modern  (JS)       Modern  (DL):

If we adopt the name "Experimental" for John's "Modern" period, it frees the
word "Modern" for what he calls his "Hyper modern" period . I certainly agree
that we are now in a new period, whatever name is given to it and I think that
the salient characteristics of the present period which John outlines are
correct.

Inevitably, styles and techniques of Origami will develop even further and
that shall be able to apply the names "Post Modern" or "Hyper Modern" to a new
period of Origami, the characterisitcs of which we cannot yet begin to
visualise.

I have to reiterate that I consider these terms are only those for broad
periods of Origami and that they are not the terms applicable to particular
styles of Origami An analysis of different styles would be much more
complicated.

Paul Jackson asked John Smith to clarify what he meant by classic Origami. I'm
not at all sure what either Paul or John really meant by the term "Classic
Origami". Were they confusing "Classic origami" with "Classical Origami"? All
I do know is that words have to be defined either by common usage or by a
generally accepted dictionary or by the user of the word. I'm not sure that
anyone has yet defined the words "Classic Origami".

Discussions of this kind, though abstruse, greatly add to our understanding of
the nature of Origami. The better our understanding of the nature of origami,
then the clearer can see the ways to new developments. There is a need for a
much wider study of the history of origami in all its aspects.

David Lister.

Grimsby, England.

DLister891@AOL.com





From: Richard Davies <richardd@REDAC.CO.UK>
Date: Wed, 05 Aug 1998 18:29:01 +0100
Subject: Re: frog contest

> >There is an elegant Frog
> >(elegant: only 16 folds from a waterbomb base),
> >at once abstract and realistic,
> >in the 1984 British Origami booklet #19,
> >    "Anthony O'Hare, Creations 1973 to 82",
>
> I can recommend this booklet to anyone & everyone - Tony's creations are
> highly personal and original (a rarity these days). His choice of
> subject is also inspired (jigsaw puzzle, nude, Leek?). He's also the PR
> officer for the BOS & has put together a web-site for the Bristol
> Origami Group at;
>
> www.bristol.digitalcity.org/org/leisure/origami/index.htm
>
> Can I take this opportunity to say that the BOS supplies (new!
> improved!) will be on-line within a few weeks?

In case anyone is put off by the 1984 date, the booklet has just been reprinted.
I don't know if its in the BOS supplies yet, but will definitely be available by
the next convention.

Rich

'One is not amused' - The Queen after Englands 3rd goal is disallowed.
England vs Argentina, World Cup 98.

Richard Davies                  Tel:    01454  207828  x8703
Leading Software Engineer       Fax:    01454  207803
Zuken-Redac Ltd                 E-Mail: richardd@redac.co.uk





From: Terry Buse <tbuse@VSTA.COM>
Date: Wed, 05 Aug 1998 21:04:22 +0000
Subject: Fw: Friendship

-----Original Message-----
circ@windmill.net <circ@windmill.net>; WildeFarms@aol.com
<WildeFarms@aol.com>; KelleyLS@aol.com <KelleyLS@aol.com>;
MonetteChilson@msn.com <MonetteChilson@msn.com>

> *              *                          *               *
>         *                   *                  *  *  *
>         *                            *             *
>    *          *              *                 *
>  *                     *                    *
>          * *          *          *
> The star catcher grinned and whispered a plan,
> "I'll catch all the stars that I possibly can.
> Then give them to all of my friends so they will truly
> see how sparkling and special they are to me." *
>   *    *          *          *            *            *
>           *      *                 *
>
>  *              *              *             *
>  *            *
>  *                *                    *
>   *
>            *          *            *            *           *
>          *           *
>               *          *           *           *
>          *              *              *             *
>        Keep Scrolling....
>         *              *              *             *
>    *            *
>     *
>        *              *         *                 *
>  *
>      *
>              *              *              *             *
>
>    *
>    *   *
>    *            *            *           *             *
>  *
>                             *
>
>        *              *                          *               *
>     *                   *         *          *  *              *
>                        *             *
>  Like each individual star....
>  Your friendship brightens my world.
>
>  ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>
>  It's National Friendship Week
>
>  ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>
>  Friends are a very rare jewel, indeed.
>  They make you smile and encourage you to succeed.
>  They lend an ear, they share a word of praise, and they always want
>  to open their hearts to us.  Show your friends how much you
>  care....  Send this to everyone you consider a FRIEND.
>
>  ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
>
>  If it comes back to you, then you'll know you have a friend for life.
>
>  ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~
>  Let's show our friends how much we appreciate them
> and what they mean to us...
>   Happy Friendship Week
>  ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*
>  Pass this on, and brighten someone's day.  Nothing will happen if
>  you do not decide to pass it along.  The only thing that will
>  happen, if you DO pass it on, is that someone might smile (because of
>  you). Make someone smile, and let him or her know how special he or she
>is
> to you.
> : - )
>
>
>
>
>
>
> >>
>--------- End forwarded message ----------
>
>_____________________________________________________________________
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From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: Wed, 05 Aug 1998 21:47:08 -0700
Subject: Re: Origami by Children Exhibit

Valerie Vann wrote:

"I've just received the annual announcement/invitation (all OUSA members
get it) of "Origami by Children", a non-competitive traveling exhibit by
folders under 18 that OUSA puts together every year.

I'm curious: the entry form asks the "SEX" of the applicant. What is the
relevance of the entrant's gender to an exhibit of origami?"

Yes, what indeed is the relevance of the "SEX" of the applicant?

Unless it was a typo and OUSA is trying to weed out pornigami by
requesting that applicants list any "SEX" depicted by their models.
