




From: DLister891@AOL.COM
Date: Fri, 12 Feb 1999 07:21:38 -0500 (
Subject: Modular Origami

Carol Sy says that she is interested in modular origami like that of the swan
and pineapple. She asks if there are any books that deal with this kind of
origami.

She must be refering to the kind of modular paperfolding that was practised by
the asylum seekers who landed in the United States from the ship "Golden
Venture".

I saw models of the swan and pineapple and also a magnificent sailing ship at
the exquisite exhibition at the Pacific Coast Origami Conference held in San
Francisco in the autumn of 1997. I was most impressed by the models and took
photographs which I still have.

In correspondence in Origami -L in April and May 1996, there was a brief
discussion about this kind of folding. There was an exhibition at the Musum of
Chinese Art in the Americas, 70 Mulberry Stree, Manhattan, which had an
exhibition of  work by the asylum seekers. It was due to close on 10th may
1996 and reopen in Philadelphia a week later. The exhibition was called "Fly
to Freedom: The Art of the Golden Venture Refugees". I understand that most of
the refugees eventually lost their application for asylum and were returned to
China. It is not known what happened to them

Some people thought at the time that this was a spontaneous art form invented
by the asylum seekers diruing their detention to while away the time. However,
it later became apparent that it was a traditional Chinese handicraftt.
(Therefore it probably shouldn't be called by the Japanese word "origami".)

Incidentally, this is one aspect of Chinese paperfolding that has not been
mentioned in the recent correspondence about Chinese paperfolding in  Origami-
L. The fact that it existed, apparently without paperfolders in the West being
aware of it make one wonder what other paperfodlding riches are waiting to be
discovered in the vast nation of China.

So far as I know there is no book about this particular  knd of modular
folding  However, in a posting to origami-L dated 1st may 1996 Karen Reeds
(reeds@opnix.com) gave a long description of the technique (necessarily, but
regrettably without diagrams). If there is, in fact, no book about the
technique, then there ought to be!

Dale Gregory of the American Musum of Folk Art in New York, a friend of Gay
Gerrill Gross, took an interest in the Golden Venture Refugees and their art
and  she wrote an article which was published in the magazine of the Museum in
about 1996. I'm sorry that I do not immediately have my copy handy to give the
precise reference.

I understand that in theory the tiny V-shaped folded paper modules are fitted
together without glue, and so they will be in simple models. But it is very
improbable that larger models like the sailing ship and especially the swan
with its long curved neck could be built up without glue.

I m anxious to know as much as possible about this form of paperfolding
construction and about the Golden Venture Refugees. Would Carol Sy tell us how
she came to ask about it?

David Lister.

Grimsby, England.

Dlister891@AOL.com





From: DLister891@AOL.COM
Date: Fri, 12 Feb 1999 07:21:40 -0500 (
Subject: Origami Ceremonies.

In his posting yesterday, John E. Clark asked about ceremonies that were
performed with origami. I take it that he means Japanese ceremonies because I
find it hard to think of any Western ceremonies using paperfolding.

Martin Carbonne was kind enough to suggest a search against my name in the
Origami List Archives. I would also suggest looking at some of my
contributions to Origami-L which are peproduced on the BOS Homepage at:
http://www.rpmrecords.co.uk/bos/    or it can be accessed from Joseph Wong's
page.

There is one particular book in English that I would recommend, which should
be readily available. This is:

Kuno Ekiguchi and Ruth S. McCreery: Japanese Crafts and Customs: A Seasonal
Approach.   Published and distributed by Kodansha.
ISBN:  4-7700-1687-5.           Price: US$19.00.

I bought my copy in June 1997 at Border's at the foot of the International
Trade Center New York. I haven't checked the Sasuga on-line bookshop, but this
book should not be difficult to find and it opens up a wide perspective on
Japanese seasonal customs in general, quite apart from the origami used in
connection with some of the festivals.

I would point out, however, that this book is not in any way exhaustive. The
study of Japanese customs and culture is absolutely fascinating and there is
enough to last a lifeltime, even if it is limited to the field of origami.

David Lister.

Grimsby, England.

DLister891@AOL.com.





From: Bob Nienhuis <nienhuis@WGN.NET>
Date: Fri, 12 Feb 1999 11:38:18 -0800
Subject: Re: Modular Origami

> Caroline S. Sy wrote:
> >
> > I'm interested in the modular origami like that of the swan and pineapple.
     Are there any
> > books that deals with that kind of origami?
> >
> > Carol
> >
> Is there a picture somewhere of the swan and pineapple that you
> mentioned above?   Jan
> --

I have pictures of the swan and pineapple on my website,

http://www.wgn.net/~nienhuis/chinese.html

The site also includes a magnificent treasure boat. All were folded by Carol
Stevens, a member of the West Coast Origami Guild. Carol learned these
models from the Taiwanese grandmother of one of her students.

Bob Nienhuis
nienhuis@wgn.net
http://www.wgn.net/~nienhuis/





From: Eileen Tan <eileen@TRISTAN.TN.CORNELL.EDU>
Date: Fri, 12 Feb 1999 11:45:10 -0500
Subject: Re: Modular Origami

There are photographs of a boat, the swan and the pineapple at this site:

http://www.wgn.net/~nienhuis/chinese.html

If anyone on this list is from Singapore, there is a shop there that
makes and sells various other models made from the same modular unit
- including an impressive chinese dragon and a baby pram.

Eileen





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Fri, 12 Feb 1999 13:01:36 +0000
Subject: Smell like a Rose

Hi Kalei:

Yes, that is so funny when people try to smell it! And then they comment that
I should make it smell somehow. Thanks for the tip on storing paper in rose
potpourri!

I hot melt glue a cotton ball on the end of the wire before I insert it into
the rose so it doesn't poke through the paper (learned that at the SEOF). I
haven't tried it but I was thinking of soaking the cotton ball in a rose
scent. But some fragrances have an oil base and I was afraid that would stain
the paper?

Any other comments on scenting a rose?

Kathy  <*))))><

K.A. Lundberg wrote:

> Whenever I give a rose to someone the first thing they do is smell it so I
> guess it looks realistic. <bg>  Actually my roses do smell now...I store
> my rose paper and completed roses in a box with rose potpourri.
>
> Kalei -- klundber@mnsinc.com





From: Maarten van Gelder <VGELDER@KVI.nl>
Date: Fri, 12 Feb 1999 16:05:32 +0100
Subject: Re: Modular Origami

DLister891@AOL.COM wrote:

> So far as I know there is no book about this particular  knd of modular
> folding  However, in a posting to origami-L dated 1st may 1996 Karen Reeds
> (reeds@opnix.com) gave a long description of the technique (necessarily, but
> regrettably without diagrams). If there is, in fact, no book about the
> technique, then there ought to be!

We have diagrams in the archives. Have a look at

   http://www.rug.nl/rugcis/rc/ftp/origami/models/units/index.htm

> I understand that in theory the tiny V-shaped folded paper modules are fitted
> together without glue, and so they will be in simple models. But it is very
> improbable that larger models like the sailing ship and especially the swan
> with its long curved neck could be built up without glue.

I have seen the swan made by someone on our convention in Netherland.
That was without glue. The units fit very tight.

--
Maarten van Gelder    KVI - Groningen, Netherlands    vgelder@kvi.nl





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Fri, 05 Feb 1999 02:50:31 -1000
Subject: Re: Modular Origami

Eileen Tan wrote:
>
> There are photographs of a boat, the swan and the pineapple at this site:
>
> http://www.wgn.net/~nienhuis/chinese.html
>
> If anyone on this list is from Singapore, there is a shop there that
> makes and sells various other models made from the same modular unit
> - including an impressive chinese dragon and a baby pram.
>
> Eileen
A friend of mine from Singapore makes these swans.  They are beautiful.
She is also selling the precut paper to make them.  I think Kim's cranes
is selling the paper.   Jan
--
<http://www.gotomymall.com/hawaii/origami/>
Origami by Jan website...the Fodor folder





From: Paul & Jan Fodor <origami@ALOHA.NET>
Date: Fri, 05 Feb 1999 02:52:11 -1000
Subject: Re: Modular Origami

I forgot to mention that the instructions on making the swan is included
with the paper.   Jan





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: Fri, 12 Feb 1999 13:47:25 -0800
Subject: Re: Smell like a Rose

Hi Kathy!

You asked for comments on scenting a rose.  I would like to add to the
potpurri.

I personally prefer origami to remain unaccessorized, where the folding
and paper alone establish the "vrit" of the model.  For me, that
is the ultimate charm and beauty of origami.

Dorothy





From: "K.A. Lundberg" <klundber@MNSINC.COM>
Date: Fri, 12 Feb 1999 16:14:49 +0500
Subject: Re: Smell like a Rose

Kathy:
   >I hot melt glue a cotton ball on the end of the wire before I
   >insert it into the rose so it doesn't poke through the paper
   >(learned that at the SEOF). I haven't tried it but I was thinking
   >of soaking the cotton ball in a rose scent. But some fragrances
   >have an oil base and I was afraid that would stain the paper?

   >Any other comments on scenting a rose?
______________________
I hadn't thought of using a cotton ball...but along that line.  I did try
at one time to enclose a bit of potpourri in some netting inside the rose.
Unfortunately, it caused the rose to have a rattle.  But wrapping some in
cotton might solve that problem.  The smell does last for months instead of
weeks that way.

I haven't ever tried using liquid scents because I was concerned about the
alcohol content of the scents...I hadn't thought about oil based scents.
Personally, I wouldn't be worried about the staining because out of
frustration and the encouragement I got from James Sakota's similar
frustration, as stated in his book, at being able to find just the
right paper in any quantity or in the case of the rose the right
size I developed a method to dye my own using natural fabric dyes.  I'll
have to try adding scent to the dye I think any small stains would only
give a bit more texture to the rose.  Thanks for the suggestion.

Kalei -- klundber@mnsinc.com





From: Arlene Anderson <aanderso@BCPL.NET>
Date: Fri, 12 Feb 1999 17:08:07 -0500
Subject: Re: Favorite Origami Moment

I had been reading messages on this list for some time but did not know
any other folks around here involved in Origami. Then I recognized a local
email address, and discovered that Peg Barber lived nearby. We agreed to
meet. She came bouncing in saying "Would you like to learn the magic rose
cube?" WOW, what an introduction; and I've been making and sharing rose
cubes since. Thanks, Peg!

Arlene Anderson                 aanderso@bcpl.net





From: Terrence Rioux <trioux@WHOI.EDU>
Date: Fri, 12 Feb 1999 17:09:57 -0500
Subject: An Intriguing Russian Web Site

In surfing about the net I stumbled upon an interesting origami-related
web site "Oriland - the Paper's World,"  authored by Yurii and Katrin
Shumakovs from the Rostov-on-Don State University in Russia.  Their
models are quite charming.  Some are done from a single piece of paper
and others are apparently compound or modular. I was wondering if anyone
on this list knows the Shumakovs or has tried folding their models.  Are
their books available outside Russia?

http://www.icomm.ru/home/origami/

Cheers,

Terry Rioux





From: hecht <hecht@MCI2000.COM>
Date: Fri, 12 Feb 1999 17:18:25 -0800
Subject: Difficulties using Freehand 8.1

I've just acquired Freehand 8.1, and I'm using it to diagram my models
(after first scribbling them on paper).  After diving in for several hours,
I still have a few questions, directed at such Freehand experts as Messrs.
Lang and Kirschenbaum, but open to anyone with useful comments:

1. When I draw a valley/mountain fold line using built-in dashed lines (or
my own custom dashed lines), I cannot control precisely where the "first
gap" falls.  Ideally I'd like the very beginning of any such line to be a
dash, followed by the rest of the pattern, because I always start them at an
edge.

2. I've created some custom arrowheads (painful, and you can't delete any!),
including hollow arrowheads for "unfold" and "fold behind".  But when the
hollow point lies on top of another line, the line underneath shows through.
Ugly.  And the custom arrowhead editor allows only black fills on these
hollow areas, not white fills.

3. Do you guys just eye-ball it when you draw a bisecting line?  Or is there
a precise way to draw a 22.5-degree angle, or a vertical line halfway
between two other vertical lines?

4. My biggest problem:  filling areas.  I'm accustomed to bitmap editors
that will fill any bounded region with a color (they all have a
"bucket-dump" tool).  Vector graphics are wonderful in some ways, but
Freehand only lets me fill a closed path.  I find myself creating tons of
closed paths in unnatural shapes, simply to get fills to happen.

That's enough for now.  Oh, and one more vague question:  does there ever
come a time, after enough experience with Freehand, when you feel proficient
and speedy?  Or does producing well-polished diagrams just stay grueling and
painstaking?

--Steve Hecht





From: "Kevin A. Hines" <hines@ANDREW.CMU.EDU>
Date: Fri, 12 Feb 1999 17:33:44 -0500
Subject: technology

Paul Jackson's encyclopedia refers to a school/method of
origami known as "technology." Can anyone direct me to a
source of information on this technique?

Please reply directly to

hines@andrew.cmu.edu

Thank you very much.

----------------------
Kevin A. Hines
hines@andrew.cmu.edu





From: CARLYN ISSITT <c.issitt@WORLDNET.ATT.NET>
Date: Fri, 12 Feb 1999 21:15:03 -0600
Subject: Re: Favorite Origami Moment

My favorite origami moment so far was finishing Montroll's zebra.  I never
could get his spotted giraffe.
Good job, whoever originally asked this question.  I enjoyed hearing
everyone's wonderful descriptions.
Carly
c.issitt@worldnet.att.net





From: "Jerry D. Harris" <102354.2222@COMPUSERVE.COM>
Date: Fri, 12 Feb 1999 21:50:09 -0500
Subject: Difficulties using Freehand 8.1

Message text written by Origami List
>I've just acquired Freehand 8.1, and I'm using it to diagram my models
(after first scribbling them on paper).  After diving in for several hours,
I still have a few questions, directed at such Freehand experts as Messrs.
Lang and Kirschenbaum, but open to anyone with useful comments:<

        I too have only just recently acquired the same program (for
Windoze), after having become proficient with version 3.1 (Mac) --
switching platforms has been a pain in the patookus!  8-S  However, some
tricks I learned with the old version seem to still apply, so allow me to
provide whatever help I can offer!

>1. When I draw a valley/mountain fold line using built-in dashed lines (or
my own custom dashed lines), I cannot control precisely where the "first
gap" falls.  Ideally I'd like the very beginning of any such line to be a
dash, followed by the rest of the pattern, because I always start them at
an
edge.<

        This problem is identical to the one in 3.1; I can't fathom quite
why FreeHand's programmers didn't make the program automatically adjust any
dashed line so that everything is "centered" between the line's endpoints
as well as make it adjust dashes to be smaller in short line segments so
they'd be more visible.  If Marc, Robert, or anyone else knows the trick to
this, please let us all know!

>2. I've created some custom arrowheads (painful, and you can't delete
any!),
including hollow arrowheads for "unfold" and "fold behind".  But when the
hollow point lies on top of another line, the line underneath shows
through.
Ugly.  And the custom arrowhead editor allows only black fills on these
hollow areas, not white fills.<

        I agree that the automatic arrowhead adjuster is still clunky,
although it's a welcome addition (it didn't exist in 3.1).  Thankfully, I
have a palette (a separate document) I created in 3.1 and have imported
into the new version, which contains a variety of arrows created as
individual graphics.  This has many benefits that the auto-arrower in v 8.x
doesn't, in that arrows and their heads can be resized (separately or
together), fills altered, etc.  For the "fold behind" arrows, this is
particularly nice because the filled head can be sent to a rear layer while
the line stays on top, enhancing the "behindedness" of the fold.  Except
for valley fold arrows, and possibly unfold arrows, I'll be using my old
graphic arrows instead of any programmed ones.

>3. Do you guys just eye-ball it when you draw a bisecting line?  Or is
there
a precise way to draw a 22.5-degree angle, or a vertical line halfway
between two other vertical lines?<

        I created a graph in the program that I have placed on a locked
background layer; I use that (along with the graphic rulers FreeHand
provides, usually set to "points" as my units) to draw diagrams over.  The
graph is made of 10% grey fill with lines spaced evenly (I have mine at 8
points apart, but of course you can make it however you like) -- creating
the graph takes little time thanks to FreeHand's "Clone" and "Duplicate"
commands.  I've saved it as a template so that it won't be overwritten.
When you're done filling a page with diagrams, you can either delete the
graph or instruct the program not to print the layer its on, so it won't
hinder your final products.  Probably there's a similar, pre-programmed
solution in FreeHand, but I haven't found it yet.

>4. My biggest problem:  filling areas.  I'm accustomed to bitmap editors
that will fill any bounded region with a color (they all have a
"bucket-dump" tool).  Vector graphics are wonderful in some ways, but
Freehand only lets me fill a closed path.  I find myself creating tons of
closed paths in unnatural shapes, simply to get fills to happen.<

        FreeHand has a number of different solutions to this problem,
depending on the individual circumstances.  Although the manual says that
open paths can be filled, I haven't mastered the process yet.  In v. 3.1, I
usually did one of three things:

1.  Create a closed path with the desired fill.  Over the region that you
want to be "open," you can create a line of the same shade as the closed
path's fill that matches the configuration of that segment of the closed
path's stroke.

2.  Create a closed path with the desired fill.  Clone the object but ajust
the clone's line to match the fill shade.  Shrink the clone by 1 or 2
percent.  Adjust the shape of the clone (adding points with the Pen Tool if
necessary) so that it overlaps the original shape only where you want the
path to be "Open."

3.  (I use this one for cut-away, partial views of the model:)  Create the
series of drawings indicating what you're trying to demonstrate.
Elsewhere, create a closed path with a wavy-line edge where the "cut" would
be for the cut-away view.  Select the series of drawings, cut them with the
"Cut" command, select the wavy-lined path, and use the "Paste Inside"
command to put the series of diagrams inside it.  (This method takes
practice to get everything lined up in the best way.)

>That's enough for now.  Oh, and one more vague question:  does there ever
come a time, after enough experience with Freehand, when you feel
proficient
and speedy?  Or does producing well-polished diagrams just stay grueling
and
painstaking?<

        Most certainly "YES!"  8-D  FreeHand has a steep learning curve,
but once you master it, it's a terrific tool.  I'm looking forward to being
as proficient with the new version as I was with the old!  Good luck to
you, too!  8-D

 _,_
 ____/_\,) .. _
--____-===( _\/ \\/ \-----_---__
 /\ ' ^__/>/\____\--------
__________/__\_ ____________________________.//__.//_________

 Jerry D. Harris
 Fossil Preparation Lab
 New Mexico Museum of Natural History
 1801 Mountain Rd NW
 Albuquerque NM 87104-1375
 Phone: (505) 899-2809
 Fax: (505) 841-2866
 102354.2222@compuserve.com





From: DLister891@AOL.COM
Date: Sat, 13 Feb 1999 04:48:01 -0500 (
Subject: Re: Modular Origami

Dear Carol,

Thank you for you e-mail sent this morning. I hadn't realised from your e-mail
address  that your home was in the Phiippines. I am most interested to learn
that kits for Chinese modular constructions can be bought in shops in the
Phiippines. Are they produced in the Philippines or do they originate in
China? I understand that a considerable proportion of the population of the
Philppines is of Chinese origin.

I think that the pineapple is one of the most appropriate models for using
this technique: the result is stunning and looks just like a real pineapple,
as though you really could cut it open and eat it.

This set me thinking what other subnjects might be appropriate in the same
way. The one that comes to mind is a hegehog. Many years ago John Richardson
of the British Origami Society used a ziz-zag folding technique to create a
most impressive hedgehog which was completely different from any fold that had
appeared before. I imagine the Chinese modulars could be also be used to make
a hedgehog. Or perhaps it could be used for one of those spiny skinned
dinonosaurs.

I'm very grateful for asking about the Chinese Modulars on Origami-L. I have
been very pleasantly surprised by the wealth and variety of the replies which
have added to my knowlege considerably. I was especially glad to have the Web
address and to download the photograhs and basic diagrams. Let's hope that
someone soon will have the inspiration to write a comprehensive book about it.
I should like to hearmore about what happened to the refugees from the Golden
Venture.

I still feel uncomfortable about calling this technique "Modular origami". As
I mentioned to you before in my last letter, "Origami" is a japanese word and
although it has been adopted in English and some other languages as a word for
"paperfolding", it still does not seem right in a Chinese context. At least
one prominent Chinese folder I know objected strongly to the use of the
Japanese word. I am posting a copy of this letter to Origami-L as you did and
I wonder what other subscribers think.

Very best wishes,

David.

DLister891@AOL.com





From: good man <jess2800@WEBTV.NET>
Date: Sat, 13 Feb 1999 06:59:57 -0500
Subject: Re: Stems for K. Rose

Hi Ria;
You and Kathy have really inspired me to  try the Kawasaki Rose using a
stem. I was wondering if the Kenneway calyx and leaves were the ones in
Paperfolding for Fun (1980) or in a later publication.
Just curious.





From: "Caroline S. Sy" <jelly@SKYINET.NET>
Date: Sat, 13 Feb 1999 15:23:30 +0000
Subject: Re: Modular Origami

That's really quite interesting, David. Thanks for the information. I just
     happen to buy a
pineapple kit from a store here in the Philippines. And when I was done with the
project, it is quite a unique sight. =) That started my interest in origami
     now. They also
offer kits for the mini teapot, basket, and bag, aside from the swan. When I
     search the web
for some information, it is only thru Bob Nienhuis page that that kind of
     paperfolding was
mentioned.

Carol

  @}-+-+-- "A friend is like a rare book --+-+-{@
              of which one copy is made."
  @}-+-+--       jelly@skyinet.net       --+-+-{@





From: Michael Abrahams <michabe@HOTMAIL.COM>
Date: Sat, 13 Feb 1999 14:36:07 -0800 (
Subject: Favorite Origami Moment

My favorite moment must have been when my sister gave me my first
origami book, Secrets of Origami: The Japanese Art of Paperfolding (by
Robert Harbin, or is it Ned Williams?), as a gift for my eighth
birthday. I had seen the book in the bookshop and was intrigued by the
colourful models on the cover. Receiving that book changed my life, for
had I not gotten it, I might never have been introduced to this
wonderful craft (or is it art???).

Did anyone else on this list get introduced to origami via this
wonderful and classic book?

Michael Abrahams,
Jamaica,
West Indies.

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





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Sat, 13 Feb 1999 15:50:49 -0800
Subject: Re: Stems for K. Rose

At 06:59 AM 2/13/99 -0500, you wrote:
>Hi Ria;
>You and Kathy have really inspired me to  try the Kawasaki Rose using a
>stem. I was wondering if the Kenneway calyx and leaves were the ones in
>Paperfolding for Fun (1980) or in a later publication.
>Just curious.
>
>
Good man:

I've been trying to find those diagrams that Kathy sent to me, for the (
calyx and leaves)
not sepals as I used the term, but I can't locate them since I moved my
origami stuff around.
I still think that it's that publication, but Kathy would know for sure so
give her a shout!

Enjoy!
Ria





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Sat, 13 Feb 1999 19:04:42 -0600
Subject: Re: Stems for K. Rose

Good man:

Yes, that is the publication, "Paperfolding for Fun" by Eric
Kenneway. It shows a calyx, leaves and a method of assembly
using wire and floral tape or a green adhesive tape. It
looks really nice. I have a picture of my finished rose if
you or anyone wants to see it please e-mail me privately.
Kathy  <*))))><
>
> >Hi Ria;
> >You and Kathy have really inspired me to  try the Kawasaki Rose using a
> >stem. I was wondering if the Kenneway calyx and leaves were the ones in
> >Paperfolding for Fun (1980) or in a later publication.
> >Just curious.
> >
> >
> Good man:
>
> I've been trying to find those diagrams that Kathy sent to me, for the (
> calyx and leaves)
> not sepals as I used the term, but I can't locate them since I moved my
> origami stuff around.
> I still think that it's that publication, but Kathy would know for sure so
> give her a shout!
>
> Enjoy!
> Ria





From: "Michael J. Naughton" <mjnaught@CROCKER.COM>
Date: Sat, 13 Feb 1999 19:50:43 -0500
Subject: Dividing a Square in Thirds (Answer to Riff)

Riff asked:
>> what's a good way to divide a square into 3 equal
>> pieces?

There are a number of ways (as noted on this list), but
my favorite -- especially when you have to do it many times
(as when making modulars) -- is to use a "template". The
method is as follows:

1) Start with a spare square (I usually pick an "ugly" color,
but I'm not going to tell you what I think "ugly" is -- you
choose!), and use any method you like to put a crease 1/3 of
the way in from one side (actually, since paper has thickness,
this crease needs to be slightly _more_ than 1/3 of the way in
-- the actual position usually requires a little experimentation).

2) Place the template so that the 1/3 side is on top and the 2/3
side is underneath it and the crease is on the left (I'm right-
handed, so you lefties may prefer another orientation).

3) Slide another square in from the right, so that its left edge
meets the crease in the template and the new square lies under the
1/3 flap of the template (and over the 2/3 flap, of course).

4) Take the right edge of the new square and fold it over so that
it meets the right raw edge of the template, and crease the new
square.

5) If your template is working, that crease will be 1/3 of the way
in on the new square, and you can get the second crease by simply
folding the 2/3 side in half. If this doesn't work, the reason is
that the template's crease isn't quite in the right place --
sometimes it takes two or three tries to get it just right.

It may take a little time to get the template right, but in the long
run I think this is the shortest and simplest method (especially when
making a 90-piece modular).

Bonus Note: you geometry nuts might try proving that this is a special
case of a general theorem: if we make one crease in the new square and
then rotate it 180 degrees and make a second crease, we have made a
section 1/3 wide in the middle of the new square, and 1/3 is of course
the size of the original flap in the template. In general, a template
with flap "x" will create a section of width "x" in the center of the
new square, and this fact can prove useful in a number of situations.
My absolute favorite is to have x = 1/2 (again, actually slightly _more_
than 1/2) and use this template to make cupboard folds which don't have
a center crease . . . .

I do have a .gif of this method -- it's not on the web (yet), but if you
email me privately at mjnaught@crocker.com I'll send you a copy.

Good luck,

Mike "Saving one crease 90 times is saving 90 creases!" Naughton





From: Perry Bailey <pbailey@OPENCOMINC.COM>
Date: Sat, 13 Feb 1999 23:24:28 -0600
Subject: Re: Favorite Origami Moment

My favorite Origami moment,

I wasn't going to contibute to this thread, as I think my favorite Origami
moment is something any one who didn't know me might construe as hubris.
While I may in some degree be guilty of that particular sin it is not a
large part of my character.  In fact my problem isn't dealing with failure,
that the years have brought to me honestly.  No, it is the ability to deal
with success that I have difficulty with.

To the point of all this, the Origami moment that I treasure most was when
I entered the origami chat room for the first time and someone recoginized
my name and put it together with one of my models I had designed.  It was a
little thing, but it meant the world to me, I felt as if I had arrived for
the first time, in this solitary art.  I don't remember who it was that
picked out my name and responded so kindly to my work but it made my day!
That was My favorite Origami moment.  I didn't really know how to respond,
but Marc K. told me just say thank you and be polite,  I sort of needed the
advise, as I say I haven't had the experience of being recognized in that
way before.  Marc if I forgot to say it at the time thank you.

Perry
--
pbailey@opencominc.com
http://www.afgsoft.com/perry/  <---- Origami Web Page with Diagrams!
ICQ 23622644





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Sun, 14 Feb 1999 03:57:10 -0500
Subject: Re: Difficulties using Freehand 8.1

At 05:18 PM 2/12/99 -0800, you wrote:

>Freehand 8.1
>...
>I still have a few questions, directed at such Freehand experts as Messrs.
>Lang and Kirschenbaum, but open to anyone with useful comments:

Well, I'm using CorelDRAW! 4.0 but I guess I can help something.

>2. ... custom arrowheads ...

I think the best is to avoid automatic arrowheads. I KNOW this is a hard
thing to do but actually *drawing* every single arrowhead gives you 100%
control of how that arrowhead will look like, how big it will be, and how
you position it. So a "mountain-fold" arrow would consist of two parts: a
curve and a white-filled tringle.

>3. Do you guys just eye-ball it when you draw a bisecting line? Or is there
>a precise way to draw a 22.5-degree angle, or a vertical line halfway
>between two other vertical lines?

As for the 22.5-degree line, I'm sure that Freehand should have some
rotating facility as a dialog box (where you can type in precise value for
rotation angle). CorelDRAW! 4.0 has, so I'd bet Freehand 8.1 has one, too.
Then do the following: draw a vertical or horizontal line (perhaps using a
guideline, which I also bet Freehand has) and then rotate it using the
rotate dialog box by typing in 22.5 or 45 or 77.5 or 90, etc...

As for halving distances, I've a 'trick'.Say you have two vertical lines
and want to know where's halfway between them. Well, draw a line from
vertical line one to vertical line two, so that the line you draw is
horizontal (that is, is at right angle to the other two ones). Like letter
'H'. Now what I do, is to rotate the horizontal line with 90 degrees (by
default, the center of rotation in CorelDRAW! is the center of the object,
I guess it might be the same in Freehand) and voil, there's it.

>That's enough for now.  Oh, and one more vague question:  does there ever
>come a time, after enough experience with Freehand, when you feel proficient
>and speedy?  Or does producing well-polished diagrams just stay grueling and
>painstaking?

Usually... But holding the finished cute little pages in your hand at the
end makes you forget all the pain that went into the diagramming of it. As
for the speed, I would say that after getting somewhat fats enough in
diagramming, it takes as much time if I'd draw it by hand. But considering
my hand drawing, it's much nicer this way. :)

Well, I hope you could use something of what I said.

Happy folding and diagramming, Peter Budai





From: Tony Gower-Mead <A1gm@AOL.COM>
Date: Sun, 14 Feb 1999 08:52:06 -0500 (
Subject: Re: Another diagram to check

I would certainly be interested in seeing any new diagrams.....

- Tony -  (I fold under pressure)





From: Florence Temko <Ftemko@AOL.COM>
Date: Sun, 14 Feb 1999 09:21:48 -0500 (
Subject: e-mail delivery

Some of you have tried to send me personal e-mail, which was returned. I've
since discovered in two cases my address was misspelled. The correct name is
FTemko. The temptation is to add the letter P in the middle. No, no.

Hope to hear from you again, and meanwhile all best from Florence.





From: Deg Farrelly <DEG.FARRELLY@ASU.EDU>
Date: Sun, 14 Feb 1999 12:23:00 -0700
Subject: Re: My first origami book.

My first origami book(s), I do not recall by name.

They were small craft books I stumbled on in a craft store in my Chicago
suburban town, Palatine when I was in 6th grade in 1963.   Except for
the covers, they were not very attractive.  They contained only
traditional models:  kimono, goldfish, shrimp etc.  But they were
sufficient to get me hooked.

>From there I learned of the Origami books available to me in the Chicago
public library (which at that time loaned to suburbanites too).  The CPL
had all the now classic books:  Art of Origami, Secret of Origami, Best
of Origami, (do we see a pattern here in the titling of books?

In 1974, at Rutgers University Graduate School of Library Science, a
book sale (of review copies sent to one of the Children's librarians) I
snagged a hard bound copy of the complete "World of Origami" for $2.  By
then I was regularly visiting Lillian Oppenheimer in NYC tho and availed
myself of all the wonders at the Origami Center

deg farrelly
1601 West Sunnyside Drive, #115
Phoenix, Arizona  85029
Phone:  602.943.8175

> ----------
> From:         Katherine J. Meyer
> Reply To:     Origami List
> Sent:         Sunday, February 14, 1999 6:03 AM
> To:   ORIGAMI@MITVMA.MIT.EDU
> Subject:      Re: My first origami book.
>
> Hi Daniela:
>
> Your first origami book sounds wonderful, and what a great story!
>
> My first origami book was Paul Krueger's "Introduction to Money
> Folding". I
> remember I kept it in a zip lock bag so it wouldn't get ruffled! It is
> special to
> me because it was given to me by Paul himself and he autographed it
> for me. Well,
> it's out of the zip lock bag now because I use it so often. Thanks
> again Rachel
> for telling me about Paul, I still write to him occasionally.
>
> Kathy <*))))><





From: Deg Farrelly <DEG.FARRELLY@ASU.EDU>
Date: Sun, 14 Feb 1999 12:54:14 -0700
Subject: Crab in Honda's World of Origami  (Was:  RE: My first origami boo k)

Janet -

I loved that crab!  But sadly, it is folded from a paper that has four
cuts in it.

World of Origami shows that this model appears in the KaNoMado (did I
spell that correctly), and Honda interprets those ancient diagrams for
his W.o.O. book.

Not too difficult once you realize that it is made of four crane bases.
Sadly, I could never get it to look right unless I used glue to secure
the last "flap" folded down.

Ahhh...how we have matured in our expectations and skills!

deg farrelly
1601 West Sunnyside Drive, #115
Phoenix, Arizona  85029
Phone:  602.943.8175

> ----------
> From:         Mike and Janet Hamilton
> Reply To:     Origami List
> Sent:         Sunday, February 14, 1999 12:44 PM
> To:   ORIGAMI@MITVMA.MIT.EDU
> Subject:      Re: My first origami book.
>
> The first book I bought (after borowing many from the public library),
> was
> the "World of Origami",  I liked the variety of models (animal,
> people,
> decorative).  I was a little dissappointed that the crab on the cover
> was
> not in the book.  I only found out recently through this list that
> many
> pages were cut after the first edition.  I have just managed to
> acquire a
> complete first edition, but have not yet folded that crab!
>
> Janet Hamilton
>
> mailto:Mikeinnj@concentric.net
> http://www.concentric.net/~Mikeinnj





From: Daniela Carboni <s134259@STUDENTI.ING.UNIPI.IT>
Date: Sun, 14 Feb 1999 13:01:48 +0100
Subject: My first origami book.

My first origami book wasn't the same as yours. Until recently, it was very
difficult find origami books here in Italy, and even now they remain very
expensive.

The story begins a long time ago.

My mother worked as kindergarten teacher and she had a lot of "educational
stuff". Once, I was nearly 6, rustling in the bookshelf, I found a tied
hard-cover children book which title was "Happy Origami".

The diagrams where printed on pages of subtle, semi transparent paper. In
front of each diagram page, there was a page wide picture with actual
models sticked on it. Being able to see the result of the folding process,
cautiously open the models up and fold them again to their place, kicked me
in the fascinating world of origami. I never came out.

The book was a gift from the local savings and loans, my mother received it
10 years before I was born and never used it. She gave me the book so I
learned my first origami model from an "ancient japanese book".

The author was Tatsuo Miyawaki, did anyone heard something about him?

The original publisher was Biken-Sha, 4, Minatomachi, Matsumayashi, Japan,
and the book was first printed in 1960.

Now I can start another discussion thread: "What was your first origami book?"

Ciao,
        Daniela

Michael Abrahams wrote:

>My favorite moment must have been when my sister gave me my first
>origami book, Secrets of Origami: The Japanese Art of Paperfolding (by
>Robert Harbin, or is it Ned Williams?), as a gift for my eighth
>birthday. I had seen the book in the bookshop and was intrigued by the
>colourful models on the cover. Receiving that book changed my life, for
>had I not gotten it, I might never have been introduced to this
>wonderful craft (or is it art???).
>
>Did anyone else on this list get introduced to origami via this
>wonderful and classic book?

/\_/\   Daniela S. Carboni
 o o    email: s134259@studenti.ing.unipi.it
= # =   http://www.fortunecity.com/rushdie/93/





From: "Katherine J. Meyer" <kathy@SILENTWORLD.COM>
Date: Sun, 14 Feb 1999 13:03:39 +0000
Subject: Re: My first origami book.

Hi Daniela:

Your first origami book sounds wonderful, and what a great story!

My first origami book was Paul Krueger's "Introduction to Money Folding". I
remember I kept it in a zip lock bag so it wouldn't get ruffled! It is special
     to
me because it was given to me by Paul himself and he autographed it for me.
     Well,
it's out of the zip lock bag now because I use it so often. Thanks again Rachel
for telling me about Paul, I still write to him occasionally.

Kathy <*))))><





From: Peter Budai <peterbud@MAIL.DATATRANS.HU>
Date: Sun, 14 Feb 1999 13:04:10 -0500
Subject: Origami: Art or carft? (Re: Favorite Origami Moment)

At 02:36 PM 2/13/99 PST, you wrote:

>... this wonderful craft (or is it art???).

I've come up with this -rather desipient- definition:

For those who can do origami, it's craft, for those who can't, it's art.

Even if not completely true there's certainly something in it, I think.

Happy folding, Peter Budai





From: Donna & Robin <robin@RGLYNN.KEME.CO.UK>
Date: Sun, 14 Feb 1999 13:29:30 +0000
Subject: Re: Difficulties using Freehand 8.1

I use Visio for my diagrams so I don't know if this trick works in Freehand.
To get any required angle I draw a single vertical line, then use the rotate
     tool.
The tool gives the angle of rotation as you drag the line around.





From: Michael Abrahams <michabe@HOTMAIL.COM>
Date: Sun, 14 Feb 1999 13:36:35 -0800 (
Subject: Favourite Origami Moment

Happy Valentine's Day to all my fellow folding freaks! I sent this to
the list yesterday but apparently it was not posted.

My favourite moment had to be when my sister gave me my first origami
book, Secrets of Origami: The Japanese Art of Paperfolding by Robert
Harbin (or was it Ned Williams?), as a gift for my eighth birthday. I
had seen the book in the bookshop and was intrigued by the colourful
models on the cover. Receiving that book changed my life in a major way.
Had I not gotten it, I may never have leart about this wonderful craft
(or is it art?).

Did anyone else on this list get introduced to origami via this fabulous
and classic book?

Michael Abrahams,
Jamaica,
West Indies.

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





From: Donna & Robin <robin@RGLYNN.KEME.CO.UK>
Date: Sun, 14 Feb 1999 13:44:34 +0000
Subject: Another diagram to check

I have just designed a Totoro model in response to a request for an Anime
     related
origami model. Would anyone be interested in checking the diagrams for any
deliberate errors or improvements. The diagrams were produced in Visio but I can
export the file in a few other formats if necessary.





From: Mike and Janet Hamilton <Mikeinnj@CONCENTRIC.NET>
Date: Sun, 14 Feb 1999 14:44:31 -0500
Subject: Re: My first origami book.

The first book I bought (after borowing many from the public library), was
the "World of Origami",  I liked the variety of models (animal, people,
decorative).  I was a little dissappointed that the crab on the cover was
not in the book.  I only found out recently through this list that many
pages were cut after the first edition.  I have just managed to acquire a
complete first edition, but have not yet folded that crab!

Janet Hamilton

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





From: "Michael J. Naughton" <mjnaught@CROCKER.COM>
Date: Sun, 14 Feb 1999 15:35:32 -0500
Subject: Sonobe Variation

Riffraff asked:
>> Have I stumbled into something new, or is this already widely-known? :)

and Tom Hull responded:
>> yes, Riff, your variation of the Sonobe has been
>> stumbled upon by numerous people.  (Never published, tho,
>> to my knowledge.  Although Michael Naughton had/has a great
>> handout with lots of Sonobe variations that people have discovered.)

Thanks for the plug, Tom! For the record, though, my handout doesn't
include this variation, as it tends to concentrate on what can be done
by creasing (or not creasing) in the "traditional" three places (and
leaving the "flaps" crease-free).

I do remember Tom Hull bringing some models with creases in the "flaps"
to an origami meeting back in the late eighties (?); as I remember,
he used this method to construct models with long "arms" radiating from
a central core.

However, I wouldn't call this "widely known", and a distinction I find
useful is that if Riffraff came up with this on his own he is entitled
to claim that he "discovered" it, although not to claim that he "originated"
it. In my experience, several people independently "discovering" the same
thing happens pretty often in modular origami, and I think every one of
them deserves to be proud of his/her achievement, even if was not the
first.

Mike "sometimes treading in the footprints of giants" Naughton





From: John Sutter <sutterj@EARTHLINK.NET>
Date: Sun, 14 Feb 1999 15:40:00 -0800
Subject: Re: my first origami book

I still have the torn and tattered booklet from Child Guidance Press,
ORIGAMI by Harry Helfman ( the oriental art of paper folding made easy.
It fell apart from being well used and abused as a folder.  My first
official origami book was a gift from my husband John and it was Engle's
Folding the Universe.  A revised edition came out called Origami from
Angelfish to Zen.  The first origami book I purchased myself was Easy
Origami by Kasahara.

Ria ^   ^





From: Marcus Hanson <hecatomb@CARROLLSWEB.COM>
Date: Sun, 14 Feb 1999 15:56:12 -0600
Subject: Re: Origami: Art or carft? (Re: Favorite Origami Moment)

> >... this wonderful craft (or is it art???).
> I've come up with this -rather desipient- definition:
> For those who can do origami, it's craft, for those who can't, it's art.
> Even if not completely true there's certainly something in it, I think.
> Happy folding, Peter Budai

I'll buy that definition.
I say that because I have tried to teach others.
It is easy to tell who has the mind for it and who doesn't.

As for origami as an experience.
my best moment had to be my first real time.
I had gone to a class on origami put on by an actual japanese family.
he showed us a few sophomoric models.
I remember thinking this is stupid.
aren't they going to show us how to do something cool.
well they didn't.
But they did send us all home with a tradition crane that they made
themselves.
So when I got home I took the thing apart to see how it was done.
that is how I learned my first model.

my first book was essential origami by the biddle brothers





From: David <tamagotchi@MINDSPRING.COM>
Date: Sun, 14 Feb 1999 16:01:25 -0500
Subject: Re: Sonobe Variation

Mike,

Is the handout that Tom referred to available in the archives or elsewhere?

Cheers,
David H.

"Michael J. Naughton" wrote:

> Riffraff asked:
> >> Have I stumbled into something new, or is this already widely-known? :)
>
> and Tom Hull responded:
> >> yes, Riff, your variation of the Sonobe has been
> >> stumbled upon by numerous people.  (Never published, tho,
> >> to my knowledge.  Although Michael Naughton had/has a great
> >> handout with lots of Sonobe variations that people have discovered.)
>
> Thanks for the plug, Tom! For the record, though, my handout doesn't
> include this variation, as it tends to concentrate on what can be done
> by creasing (or not creasing) in the "traditional" three places (and
> leaving the "flaps" crease-free).
>
> I do remember Tom Hull bringing some models with creases in the "flaps"
> to an origami meeting back in the late eighties (?); as I remember,
> he used this method to construct models with long "arms" radiating from
> a central core.
>
> However, I wouldn't call this "widely known", and a distinction I find
> useful is that if Riffraff came up with this on his own he is entitled
> to claim that he "discovered" it, although not to claim that he "originated"
> it. In my experience, several people independently "discovering" the same
> thing happens pretty often in modular origami, and I think every one of
> them deserves to be proud of his/her achievement, even if was not the
> first.
>
> Mike "sometimes treading in the footprints of giants" Naughton





From: Stephen Canon <Stephen_Canon@BROWN.EDU>
Date: Sun, 14 Feb 1999 16:03:06 -0500
Subject: Re: Dividing a Square in Thirds (Answer to Riff)

>There are a number of ways [to divide a square into thirds]
>(as noted on this list), but my favorite -- especially when
>you have to do it many times (as when making modulars) --
>is to use a "template". The method is as follows:

Really?  I've always found that, for modulars anyway, I can
just eyeball the 1/3 division.  (So long as I'm working with
paper smaller than, say, 12" on a side...)  For larger
divisions, the template is very helpful, but for 1/3, I think
it's more useful to just learn what a third "looks like".

Stephen T Canon
stephen_canon@brown.edu





From: "John R. Mizell" <superj@BELLSOUTH.NET>
Date: Mon, 15 Feb 1999 01:22:53 +0000
Subject: Re: My first origami book.

Mike and Janet Hamilton wrote:

> The first book I bought (after borowing many from the public library), was
> the "World of Origami",  I liked the variety of models (animal, people,
> decorative).  I was a little dissappointed that the crab on the cover was
> not in the book.  I only found out recently through this list that many
> pages were cut after the first edition.  I have just managed to acquire a
> complete first edition, but have not yet folded that crab!
>
> Janet Hamilton
>
> mailto:Mikeinnj@concentric.net
> http://www.concentric.net/~Mikeinnj

        Is there any way I can talk you into photocopying the
pages of the crab diagrams for me?  I am new to the list and
did not know that there were pages omitted from later editions.
I just bought this title about a week ago.
        I would be very willing to send a SASE for you to mail them
back plus postage if it is alright with you. After reading your letter
I went back and searched the book especially for the crab, needless
to say it was not there.

        Happy folding and hope to hear from you soon,

        John Mizell
        superj@bellsouth.net
