




From: Module Nut <origamifreak@YAHOO.COM>
Date: Mon, 31 May 1999 03:14:09 -0700
Subject: Re: Kawasaki-type shell with no raw edges and a triangular opening

> If you remember what you did, please describe to me.

Oh dear, I wonder if I can describe it?  I'll try.

First let me describe the general idea so if you get
lost you might be able to get it anyway.  You're going
to essentially be making a bird base but not the
traditional way, and the middle part that usually
sticks out as the back of a crane will be sticking
"in."  From there you will pinch in each triangle's
base halfway and fold them such that the raw edges are
inside instead of outside before pre-creasing and
wrapping them around each other for the spiral.  If
you pinch them in on one side of the base you later
have the option of pushing in one half of the side
where you want the opening.

OK.  Here's how I proceed.  Let's assume the paper is
pink and white and I want the white to end up out and
the pink hidden.

1.  Mountain fold the pink side in half both ways
(horizontally and vertically, making rectangles)

2.  Mountain fold the white side in half both ways
(diagonally, making triangles)

3.  With the pink side up fold the edges of the
corners in to the center crease  (on every corner)

4.  With the pink side up pinch the square up along
the horizontal crease you made in step 1.  Pleat the
paper such that the fold hits the vertical center
crease from step 1 exactly where the folds in step 3
intersect.  Rotate the paper 180 degrees and repeat.

5.  On one pleated edge (with the pleat pointing to
your right) re-fold your creases from step 3,
collapsing the fold in the middle.  Unfold.

6.  On the opposite pleated edge do the same thing and
keep the pleat pointing to the right.  At this point
the pleat will be vertical in the center because
you've folded it down one way on one side and the
other way the other side.  It'll be OK, so don't
panic.  Unfold everything.

7. Repeat steps 4-6 with the vertical crease.  Make
sure the pleat goes to the right on each side, so it's
radially symmetrical.  Unfold everything.

Hopefully you're with me so far.  Up 'til now you've
been pre-creasing the paper so it will behave for the
next step.  Now it gets a bit 3-D and funky, but I'll
try to describe it as best as I can.

8.  Pinch up the pink center on both the horizontal
and vertical creases you made back in step 1.  Re-fold
the pleats to the right along all four edges,and
gently flatten the corners and sides of the paper into
the same plane (like onto the table).  The pleats in
the center will stick up like the skeleton from a
pyramid.  This is normal, just bear with me.

9.  Re-fold along the diagonal creases you made in
step 3, collapsing as you did in step 5.  You should
end up with a flat, white 4-pointed star with a pink
edgy pyramid shape in the center.  It is essentially a
bird base with the center point inverted.

10.  Fold the model in half along the rays of the
star, hiding the pink part.  Open, turn 180 degrees
and fold in half again.  These points should look
familiar as the things you'll be forming the spiral
from.

11.  Pinch the left side of each ray's origin in half
so that if you hold them all together you can see the
conic box shape from which the sides of the shell are
constructed.  It helps to lay the model down on a hard
surface and really press that sucker flat, as it's a
bit bulky.

12.  Find the place where each ray will fold over from
the side to the top (where the spiral will be) and
pre-crease.  Unfold back to step 10.

13.  Pre-crease the spiral folds on each ray
individually.  Do the two rays which are opposit and
folded in half, and then turn the paper 180 degrees
and do the other two rays.

14.  OK,now the moment of truth.  Re-form the conic
box and wrap the rays into the top spiral and
pinch-twist to finish.

15.  Pick the messiest-looking side of the cone.  Push
in the paper along it's right-hand side and if I've
described everything right, and if you've done
everything the way I think I've described it (and
those are two very big IFs) the right hand side of the
triangle will collapse inward leaving a narrow,
triangular hole.

Phew!  If you can actually follow that it will be a
minor miracle.  I wish I had a digital camera or
something so I could send you a picture of how mine
come out.

Good luck!

anja

_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com





From: DORIGAMI@AOL.COM
Date: Mon, 31 May 1999 06:18:32 -0400 (
Subject: Re: D'you

Will someone please tell me what D'you means?
Thanks in advance.

Dorigami





From: Marcus Hanson <hecatomb@CARROLLSWEB.COM>
Date: Mon, 31 May 1999 09:32:34 -0500
Subject: Re: D'you

DORIGAMI@AOL.COM wrote:
>
> Will someone please tell me what D'you means?
> Thanks in advance.
>
> Dorigami
I'm guessing it is lingo for "do you"
--
-----------------------------------------------------------------------
Marcus Hanson's Digital Gallery
http://members.tripod.com/~MarcH_3/index.html
last updated 5-9-99
-----------------------------------------------------------------------
"If you have but one wish, let it be for an idea."
                                        - Percy Sutton -





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 31 May 1999 10:43:46 -0700
Subject: Origami for Advertising (was Re: Origami Collage)

At 18:21 99/05/31 +0100, Paul Jackson wrote:
>You're right.  I don't wet fold them.  This is not just because it's
>difficult to collage wet folded pieces, but also because wet folded models
>can look like paper pulp, or papier mache or even clay, rather than like
>folded paper, and it is generally important for the 'concept' behind the
>commercial use of origami that the model is immediately recognisable as
>folded paper.  This is more easily achieved by the traditional flat plane,
>sharp crease techniques than by wet folding.  Sadly.

Your technique is interesting, Paul, and I must admit that I do not use it
when I do my commissioned work. This is mainly due to the fact that I do not
work directly with my clients and am usually not present at the photo shoot.
(Most of my clients are in the USA.) This being the case, I rely mostly
"pure" origami techniques (occasionally using multiple pieces of paper).
Without control of the model during photography, I must make models that are
"bulletproof" (suitable for viewing from any--or almost any--angle). Thus
they must be suitably 3D or else deliberately one-sided enough for the
photographer and the art director to know where to shoot from. For those
models for which a specific shooting angle is required, I include detailed
instructions with positioning and lighting sketches.

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: Jessica Schulman <JS2301@AOL.COM>
Date: Mon, 31 May 1999 11:09:43 -0400 (
Subject: Re: Plain Human Figure model?

they've got no clothes on.
I made them for my son's science project and was totally suprised when they
came out anatomically correct.
anybody got a plan for a plain "neutered" body?





From: Jane Rosemarin <jfrmpls@SPACESTAR.NET>
Date: Mon, 31 May 1999 13:30:13 -0500
Subject: Origami sightings

Origami is beginning to take over the New York Times. The word origami is
an answer in today's crossword puzzle. 44 down asks, "It might be gotten
from a folder."
ORIGAMI is the answer.

Also, in the NYT book review of May 23, which I no longer have, there was
a drawing of a man in an origami boat (the kind that is often made from
newspaper, and also serves as a hat).

-Jane





From: "Chamberlain, Clare" <Clare.Chamberlain@HEALTH.WA.GOV.AU>
Date: Mon, 31 May 1999 14:27:43 +0800
Subject: Teaching Origami

Someone asked what type of curriculum we use in teaching - I have taught
such a variety of groups and ages - from 3 year olds to pensioners, the
blind and calligraphers, that this is impossible to answer easily.  If
teaching a basic class of beginners, I recommend the Nippon Origami basic
teaching book (can't remember the name) and Paul Jackson's Step by Step book
(again precise title has fallen out of my brain).
My horror teaching session was for TV in Japan (but in English for hotel
cable) where I discovered to minutes beforehand that it was live!  I
demonstrated a traditional pleated butterfly (Valley fold square in eights
in one direction, then mountain each long rectangle diagonally in same
direction - pleat, pinch in half and voila!)
Then was challenged to fold a model during the break.  Unfortunately I had
to stop as the mike was picking up the rustling of paper!  Butterflies were
a good choice - my shaking hand made them flutter beautifully!!





From: Allan findlay <a_findlay@EXCHANGE.CREATIONS.CO.UK>
Date: Mon, 31 May 1999 16:21:33 +0100
Subject: Re: Plain Human Figure model?

Can't you just fold the 'extra bits' in?
--------------------------
        Allan           (a_findlay@exchange.creations.co.uk)

> ----------
> From:         Jessica Schulman[SMTP:JS2301@AOL.COM]
> Reply To:     Origami List
> Sent:         31 May 1999 16:09
> To:   ORIGAMI@MITVMA.MIT.EDU
> Subject:      Re: Plain Human Figure model?
>
> they've got no clothes on.
> I made them for my son's science project and was totally suprised when
> they
> came out anatomically correct.
> anybody got a plan for a plain "neutered" body?





From: Julius Kusserow <juku@MATHEMATIK.HU-BERLIN.DE>
Date: Mon, 31 May 1999 16:45:02 +0200
Subject: Re: Japanese Exam

Hi Susan Johnston,

omedetougosaimasu
(congratulations)

Happy folding
Julius





From: Lazagami <lazagami@TESCO.NET>
Date: Mon, 31 May 1999 17:42:10 +0100
Subject: Re: Winged Devil

In answer to the query, the diagrams are in VIVA ORIGAMI which is =
probably out of print by now.  A copy from the book is always available =
to a fellow folder by snail mail! =20

P.S.   I was shown the recollapsing sequence for the horns that appear =
out of the shoulders, but on a miniature model ( hard to see?) if any =
one has some kind of sketch of this bit, PLEASE! let me know.

TA  Lazagami.





From: Paul Jackson <Mpjackson@BTINTERNET.COM>
Date: Mon, 31 May 1999 18:21:25 +0100
Subject: Re: Origami Collage

On 30/05/99 G Dolphin asked:

>I doubt you wet-fold your models.
>What type of paper do you use?

You're right.  I don't wet fold them.  This is not just because it's
difficult to collage wet folded pieces, but also because wet folded models
can look like paper pulp, or papier mache or even clay, rather than like
folded paper, and it is generally important for the 'concept' behind the
commercial use of origami that the model is immediately recognisable as
folded paper.  This is more easily achieved by the traditional flat plane,
sharp crease techniques than by wet folding.  Sadly.

I use any paper that will hold a crease and which is not a bright white
(which looks odd when photographed).

Just to stress again -- I only use this collage technique for commissioned
models designed to be photographed, in order to hopefully achieve an
authentic one-piece effect, but with the versatility of using many pieces.

Paul Jackson





From: Susan Johnston <supersuzy2000@HOTMAIL.COM>
Date: Mon, 31 May 1999 19:44:06 +0100 (
Subject: Re: D'you

Hey Doesn't it mean 'Do you?'?

>From: DORIGAMI@AOL.COM
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: D'you
>Date: Mon, 31 May 1999 06:18:32 EDT
>
>Will someone please tell me what D'you means?
>Thanks in advance.
>
>Dorigami

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





From: Susan Johnston <supersuzy2000@HOTMAIL.COM>
Date: Mon, 31 May 1999 19:45:56 +0100 (
Subject: Re: Japanese Exam

To Julius,

Thank you very much
(arigatou!!!)

Susan

>From: Julius Kusserow <juku@MATHEMATIK.HU-BERLIN.DE>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: Japanese Exam
>Date: Mon, 31 May 1999 16:45:02 +0200
>
>Hi Susan Johnston,
>
>omedetougosaimasu
>(congratulations)
>
>Happy folding
>Julius

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





From: Hatori Koshiro <hatori@JADE.DTI.NE.JP>
Date: Tue, 01 Jun 1999 01:26:03 +0900
Subject: Re: kami (was Re: teaching origami)

> As an aside, my Japanese folding friends generally refer to origami paper
> (the square, coloured on one side stuff) as IROGAMI (coloured paper).  I
> recall CHIRIGAMI as well, which I think is the decorated paper often used
> for doll making (but I could well be wrong).

I feel IROGAMI is rather old-fashioned, though we can use it now.
CHIRIGAMI is older. Now it mainly refers washi-like soft paper.
Toilet paper is also called CHIRIGAMI.
Oh, it is called KAMI, too.

 _ _ _ _ _
|         |  Hatori Koshiro (Koshiro is my first name.)
|_._._._._|          hatori@jade.dti.ne.jp
|         |      http://www.jade.dti.ne.jp/~hatori/
|_ _ _ _ _|_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
 If they keep on risking failure, they're still artists. (S.Jobs)





From: Hatori Koshiro <hatori@JADE.DTI.NE.JP>
Date: Tue, 01 Jun 1999 01:26:06 +0900
Subject: Re: animating folds on computer...

> I would like to animate [3D] a series of 'folding' techniques on the
> computer.
> I have Infini-D and 3D StudioMax on my computer, but am having a singular
> lack of success at the moment.
> Can you advise please?

I use Macromedia Freehand and Fireworks.
I draw each frames (over 100 for the crane!) with Freehand,
then convert them into GIF animations with Fireworks.
You can see the animations at my site.

 _ _ _ _ _
|         |  Hatori Koshiro (Koshiro is my first name.)
|_._._._._|          hatori@jade.dti.ne.jp
|         |      http://www.jade.dti.ne.jp/~hatori/
|_ _ _ _ _|_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
 If they keep on risking failure, they're still artists. (S.Jobs)





From: Hatori Koshiro <hatori@JADE.DTI.NE.JP>
Date: Tue, 01 Jun 1999 01:26:08 +0900
Subject: from JOAS

Japan Origami Academic Society (former Origami Tanteidan) are now
ready to send subscribers the first issue of Origami Tanteidan
Magazine.
It contains serial articles by Fuse Tomoko, Robert J. Lang, Maekawa
Jun, and so on. You also have diagrams by Nishikawa Seiji.

The next issue, which will be published in this July, will
contain diagrams of Maekawa's Devil(!) drawn by Komatsu Hideo.

Due to the large weight of the issues of the new magazine (each of
them have 40 pages), we will send them by surface mail from the next
one. It will cause some delay in arrival. Thank you for patience.

To subscibe, check Tanteidan website at
  http://www.origami.gr.jp/Intro/join-e.html

 _ _ _ _ _
|         |  Hatori Koshiro (Koshiro is my first name.)
|_._._._._|          hatori@jade.dti.ne.jp
|         |      http://www.jade.dti.ne.jp/~hatori/
|_ _ _ _ _|_ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
 If they keep on risking failure, they're still artists. (S.Jobs)





From: Emmajg <emmajg@CUSTARD.ORG>
Date: Mon, 26 May 1999 19:59:13 +0100
Subject: Re: Fencer Model

Umm not sure if it's any good but I have diagram on how to make a knight on
house back and he's got a shield and pointy thing :o)
Happy Folding
Emmajg*
-----Original Message-----
From: Sam Kendig <neuro_mancer42@YAHOO.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: 25 April 1999 21:41
Subject: Fencer Model

>Looking through the Origami Tanteidan webpage, I saw under the short
>bio of Takashi Hojo that he'd designed a model of a fencer. Does anyone
>know if it's diagrammed, and if so, where? I'd love to fold it, being
>an avid fencer myself, and having had little luck designing my own
>model.
>
>Thanks,
>Sam
>Neuro_Mancer42@yahoo.com
>_________________________________________________________
>Do You Yahoo!?
>Get your free @yahoo.com address at http://mail.yahoo.com





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: Sat, 29 May 1999 13:58:48 +0200
Subject: Re: Teaching Origami

Dorothy Engleman schrieb:
> For those of you who teach origami, could you share with us a
> description of your curriculum and what models you teach.

Not sure what a curriculum is, but here's how I teach:
I usually teach 3 sessions of 2 hours, that's not too much of a time
investment for today's busy people but long enough to show a cross-
section of what is possible with origami. The first session is about
traditional origami, the second about decorative origami, the third
about modern and modular origami. Of course these are just my
guidelines, I don't follow them like a slave but adjust them as we go
along.

In the first session I bring along ALL the models I am prepared to teach
during the course. It's quite a nice display, and it's a good
"ice-breaker" too.

There are usually a few models that I think are important and that I
really want to teach, but I do not teach a model if the group doesn't
want to learn it (even if it's my wonderful standing star box <sniff>).
After we're through with these, the group can then choose from the
display what other models they want to learn today or in one of the next
sessions.

List of models that I teach: Maybe next time, my son just woke up!

all the best,
Matthias





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: Mon, 31 May 1999 14:14:32 -0700
Subject: Re: wet folding

Hi Russell!

Steam folding?  I love it, with a side of stir fried vegetables, of
course!

Oh, and thanks for your fascinating travelogue of the Paris convention.

Dorothy





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 31 May 1999 14:31:53 -0700
Subject: Re: Origami sequence (blintz---pajarita)

At 20:17 99/05/31 +0200, you wrote:
>The paperfolding sequence going from the blintz fold to the treasure boat
>through the fortune teller, pajarita etc., has been recently mentioned on
>this list.

Very nice. You have a few models in there that I've not noticed before (the
vase in step 13, the hungry fish in step 14, and the sailboat in step 21).
There are also some that you have missed:

Step 37 - open A and B, but not the two sides, and you have a Chinese lantern.
        - open all four points for a cross
        - fold the four arms of the cross down for another table (or an
          ottoman)
Step 40 - rotate 90 degrees clockwise, and you have a steam ship (with 2
          smokestacks)

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: Tiffany Tam <origamiwing@HOTMAIL.COM>
Date: Mon, 31 May 1999 15:55:13 -0700 (
Subject: Re: Plain Human Figure model?

it there a diagram for this figure online?
Thank you
Wing
>From: Jessica Schulman <JS2301@AOL.COM>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: Plain Human Figure model?
>Date: Mon, 31 May 1999 11:09:43 EDT
>
>they've got no clothes on.
>I made them for my son's science project and was totally suprised when they
>came out anatomically correct.
>anybody got a plan for a plain "neutered" body?

_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Mon, 31 May 1999 16:27:59 -0700
Subject: Website update - new gallery

I've finally put up a gallery of more recent models on my website. Take a
look at the URL below. More to come...hopefully soon!

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: Russell Sutherland <RGS467@AOL.COM>
Date: Mon, 31 May 1999 16:58:26 -0400 (
Subject: Re: wet folding

David Whitbeck writes:
<snip>
I acquired some elephant hide paper recently.  I tried to wetfold for the
first time.  Unfortunately I acted very foolishly: I thought I would start
with one of my favorite fold's Lang's Elephant.  Everything was going well
until I got to the part where I was folding the legs and trunk right before
opening the model, instead of keeping the model flat I kept the trunk out
instead of lying it flat and folded the legs (how I would if I were just
normally folding) anyhow, the paper didn't care too much to collapse back
into the creases that were formed that I partially unfolded while folding
the legs (that's a bad habit of mine, I like to unfold alot when I do some
interesting folds then collapse the whole thing back again) anyhow the
result was I let the elephant die in peace and turned his remains in to a
crane which I will keep for a long while as a lesson: don't just jump in!
  I hope this story has been an amuzing one.  Any comments on how to
wetfold so I won't blunder up and waste expensive paper?
<snip>

One should be very familiar with the folding sequence of a model before
wetfolding it... so as not to waste time and $$ (hindsight is 20/20 : \
Limit the complexity of the model ... and increase it as you are more
familiar with the technique.  The paper is folded differently than dry
paper...  some sequences can be combined to work better... keep the model in
3D as much as possible (folding in the air and shaping as you go)...just
takes time and effort to get the hang of it.  I have found the  best models
for wetfolding to be the ones that have 3D potential. Expect a  model to take
up to twice as long to fold as it would dry.

I discovered wetfolding on my own.... and have grown to love it.  My methods
may appear unconventional...  enjoy the chuckle.

The first paper that I tried to wetfold was wallpaper. I was given some
outdated wallpaper sample books...  There are all different types of
papers(?) with varying degrees of vinyl/paper ( the best by far for
wetfolding are the ones containing more paper). I liked the brilliant colors
and vinyl protective coating on the paper.  But folded dry,  it was just too
thick and had little to no memory.  So, I got the idea of foilbacking the
wallpaper using plain ol' kitchen wrap and a spray adhesive... to give the
paper memory.  Unfortunately, the paper became too ridged and unforgiving.
Then, one time, I was in a hurry when I folded this particular (thinner..with
more paper) type of wallpaper. The paper was still moist from the spray
adhesive.. and it molded a lot easier.

So, then, I tried folding the wallpaper wet without foil... the paper
unfolded on me (the vinyl coating was thick).  Then, I tried soaking the
wallpaper... dabbing it off... backfoiling the wallpaper while it was wet...
and folding immediately.  The paper was like putty in my hands.

It can be sculpted.  When the foilbacked wallpaper dries out too much, I
steam the model in a vegetable steamer ....it somehow moistens the paper
through the vinyl coating when a mister wouldn't.  If DUO paper is required,
one can laminated an extra layer of thin tissue film (paperless) on the
backside....that way, if steaming is required, there is no problem.

One should always wet the paper before cutting it to folding size because all
papers expand while wet... and sometimes, more in one direction the other due
to the grain of the particular paper.

I have gotten away from foilbacking/wetfolding wallpaper now...  But I think
it was worth experimenting with... had some good experiences with it. For the
experienced wetfolder, I'm sure this wallpaper approach seem a bit silly...
but it worked for me.

I have discovered wetfolding CANSON paper (again by accident)... I like to
fold the thicker weights.  The key to this paper is to never make a crease on
the paper while too dry because it damages the fibers and weakens the
paper...the paper tends to tear here.  The creases also show where folded too
dry. The paper can be moistened in areas with a spray mister if the paper
dries too quickly.

I hope this helps,

Russell
AKA: LoneFolder

DARE TO WETFOLD!!!!!!!!!!!!





From: "Juan P. Fernandez" <jpf@DAISY.PHAST.UMASS.EDU>
Date: Mon, 31 May 1999 17:16:59 -0400
Subject: Re: Origami sequence (blintz---pajarita)

...Italian text notwithstanding, I bid welcome
   to an important addition to my diagram col-
   lection.  Thanks, Roberto!

                        jp





From: Doug Philips <dwp@TRANSARC.COM>
Date: Mon, 31 May 1999 19:36:17 -0400
Subject: Re: Origami Collage

On Sun, 30 May 1999, Paul Jackson wrote:
+I hope this answers your questions.  I'll be pleased to answer others.

Yes, it does. Thank you.

-D'gou





From: Eric Andersen <ema@NETSPACE.ORG>
Date: Mon, 31 May 1999 19:38:04 -0400
Subject: Steve Hecht's dollar bill heart and arrow

Steve,
That's a great model! Not easy, though...just a few specific comments:

1. In steps 1 and 3 you mention "flexing" the creases, folding them both
ways, but you don't specify this in steps 4, 5, and 6, although I think
you mean to.

(on a side note, I've noticed that folding the crease both ways on a
dollar bill is very different than on kami; once a sharp crease is made in
one direction, the opposite crease becomes a bit more difficult on a
dollar bill as opposed to a bit easier on kami. Seems to me to have
something to do with the grain in the paper...)

2. Step 15 - what should you do with the last eighth flap? In step 25 you
show the folds "behind the scenes", while in this step you do ont.

3. That pleat in steps 15-16 (redone in step 24) really isn't clear - what
is going on behind? It seemed that there were a lot of possibilities, and
whatever I chose made step 31 impossible! I had to take most of that side
apart to reengineer the model so that step 31 would be possible.

4. The instructions on page 5 seemed to be mostly cut off. Your repeat
behind on that page is a bit confusing, I found my second point pointing
in the same direction as the first. I'm betting that if I had seen the
instructions that this would not have happened.

Once finished, it looks really cool...just wish that it could stand on its
own!

-Eric :-P
origami@netspace.org

/=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=\
\   Eric Andersen                                       /
/    Mathematics, Music             ~  ~ __o            \
\     and Origami                 ~  ~ _-\<'_           /
/      ema@netspace.org        ~    ~ (_)/ (_)          \
\=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=/
         *** http://www.paperfolding.com ***





From: Robby/Laura <morassi@ZEN.IT>
Date: Mon, 31 May 1999 20:17:52 +0200
Subject: Origami sequence (blintz---pajarita)

Hi all !

The paperfolding sequence going from the blintz fold to the treasure boat
through the fortune teller, pajarita etc., has been recently mentioned on
this list. Not "origami" in the strict sense, since this sequence (also
known as "multifold") looks like being of European origin, not Japanese....
call it just "paperfolding" ! I made the diagrams several years ago for
publication in a games magazine (PERGIOCO, 1981). If anyone is interested,
I've put them on this server for anonymous FTP (two files of about 200 k
each):

ftp://ftp.chim1.unifi.it/pub/uploads/rmtemp/multi1.jpg

ftp://ftp.chim1.unifi.it/pub/uploads/rmtemp/multi2.jpg

They will stay there for a limited time. Italian text, but that's a minor
problem... ;-)

Roberto





From: "Kathryn F. Wagner" <kfwagner@EARTHLINK.NET>
Date: Mon, 31 May 1999 20:26:23 -0700
Subject: Re: We Need Volunteers!

Dear June -

I can help you on either day - though I would prefer the rainy one, if there
is one next weekend!! Just let me know when would be better. I'm assuming
Saturday might be better just to get as much out of the way as possible. You
can reach me at kfwagner@earthlink.net.

See you next weekend.

Kathryn Wagner

At 10:10 AM 5/24/99 EDT, you wrote:
>To All Interested Parties:
>
>The annual Origami USA Convention is just around the corner and much needs to
>be done.  Typically we rely on visiting origami volunteers to do whatever can
>be done whenever they are available.  However, it has been decided that the
>huge task of collating tens of thousands of papers for the 900 packets for
>the convention will be done in TWO days at the American Museum of Natural
>History in NYC.
>
>We are looking for people to help collate the papers on June 5th and June 6th
>from 11:00 a.m. to 4 p.m. on both days -- or until done!  We will be meeting
>in the lunchrooms in the basement of the museum.  If enough volunteers come
>out the job will be done in short time and will be fun!
>
>Please contact me privately to let me know if you can attend:  I need to know
>what day(s) and what time you will be available to help so that I can
>coordinate the event.
>
>Thank you in advance for your help!
>
>
>June Sakamoto
>Tel:  (201) 891-4852
>fax:  (201) 891-8948
>e-mail:  foldmaster@aol.com





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: Tue, 01 Jun 1999 01:00:29 -0700
Subject: Re: Kawasaki-type shell with no raw edges and a triangular opening

I tried to follow it,  but sorry I didn't succeed.  I guess I'm a diagram
kind of guy.  Thanks for trying.  I'll still have to try the pink origami
paper it sounds nifty.  I would sure love to see what it looks like though.

        I did something crazy.  I tried folding a variation on the shell
from the frog base, it was a horrible failure but the odd result looked
interesting enough to mention it.  I only hope that when someone tries to
fold from these shotty instructions that their result will look much
pleasanter than mine and they'll find something useful to do with it.  I
can just imagine one of you guys folding this, then stopping says "Oh,
look!" does a quintuple sink followed by three more open sinks and get a
crab or something out of it.  I should have just looked at the book to see
how the shell from the frog base was folded but I was feeling like I wanted
to be spontaneous.  What I folded could best be described as abstract art,
but there was an intriguing feature I thought someone could do something
with.  Anyhow I petal folded all the flaps then did an open sink about 2/3
of that central tip with all the layers.  With those small triangles I
folded them inside.  I rabbit eared the four flaps, so like in the shell
they are parallel to the base.  I saw uh, oh this leads me nowhere because
of the layers between them.  So I mountain folded them to be perpendicular
to the plane they were in while opening up the sink to make model 3d.  I
then squeezed the four points together and swirled them round and round,
until I got well call it abstract art.  It's ugly and one way it looks like
a hexagonal box, the other way it looks like the top of a shell.  But I
thought here that I can't do something with this, but perhaps someone in
this dang fangled email list no how this horrible concoction can be put to
use, if at all.  I figure with that cool swirl there's something that can
be done with it.  I only figure this because it looks pretty neat seeing
all those layers curl into each other.  Any ideas about this?  I know
children could come up with better things, and the only reason I bring this
monstrosity up is I believe that it has potential to be more, and someone
other than me could exploit it.

>> If you remember what you did, please describe to me.
>
>Oh dear, I wonder if I can describe it?  I'll try.
>
>First let me describe the general idea so if you get
>lost you might be able to get it anyway.  You're going
>to essentially be making a bird base but not the
>traditional way, and the middle part that usually
>sticks out as the back of a crane will be sticking
>"in."  From there you will pinch in each triangle's
>base halfway and fold them such that the raw edges are
>inside instead of outside before pre-creasing and
>wrapping them around each other for the spiral.  If
>you pinch them in on one side of the base you later
>have the option of pushing in one half of the side
>where you want the opening.
>
>OK.  Here's how I proceed.  Let's assume the paper is
>pink and white and I want the white to end up out and
>the pink hidden.
>
>1.  Mountain fold the pink side in half both ways
>(horizontally and vertically, making rectangles)
>
>2.  Mountain fold the white side in half both ways
>(diagonally, making triangles)
>
>3.  With the pink side up fold the edges of the
>corners in to the center crease  (on every corner)
>
>4.  With the pink side up pinch the square up along
>the horizontal crease you made in step 1.  Pleat the
>paper such that the fold hits the vertical center
>crease from step 1 exactly where the folds in step 3
>intersect.  Rotate the paper 180 degrees and repeat.
>
>5.  On one pleated edge (with the pleat pointing to
>your right) re-fold your creases from step 3,
>collapsing the fold in the middle.  Unfold.
>
>6.  On the opposite pleated edge do the same thing and
>keep the pleat pointing to the right.  At this point
>the pleat will be vertical in the center because
>you've folded it down one way on one side and the
>other way the other side.  It'll be OK, so don't
>panic.  Unfold everything.
>
>7. Repeat steps 4-6 with the vertical crease.  Make
>sure the pleat goes to the right on each side, so it's
>radially symmetrical.  Unfold everything.
>
>Hopefully you're with me so far.  Up 'til now you've
>been pre-creasing the paper so it will behave for the
>next step.  Now it gets a bit 3-D and funky, but I'll
>try to describe it as best as I can.
>
>8.  Pinch up the pink center on both the horizontal
>and vertical creases you made back in step 1.  Re-fold
>the pleats to the right along all four edges,and
>gently flatten the corners and sides of the paper into
>the same plane (like onto the table).  The pleats in
>the center will stick up like the skeleton from a
>pyramid.  This is normal, just bear with me.
>
>9.  Re-fold along the diagonal creases you made in
>step 3, collapsing as you did in step 5.  You should
>end up with a flat, white 4-pointed star with a pink
>edgy pyramid shape in the center.  It is essentially a
>bird base with the center point inverted.
>
>10.  Fold the model in half along the rays of the
>star, hiding the pink part.  Open, turn 180 degrees
>and fold in half again.  These points should look
>familiar as the things you'll be forming the spiral
>from.
>
>11.  Pinch the left side of each ray's origin in half
>so that if you hold them all together you can see the
>conic box shape from which the sides of the shell are
>constructed.  It helps to lay the model down on a hard
>surface and really press that sucker flat, as it's a
>bit bulky.
>
>12.  Find the place where each ray will fold over from
>the side to the top (where the spiral will be) and
>pre-crease.  Unfold back to step 10.
>
>13.  Pre-crease the spiral folds on each ray
>individually.  Do the two rays which are opposit and
>folded in half, and then turn the paper 180 degrees
>and do the other two rays.
>
>14.  OK,now the moment of truth.  Re-form the conic
>box and wrap the rays into the top spiral and
>pinch-twist to finish.
>
>15.  Pick the messiest-looking side of the cone.  Push
>in the paper along it's right-hand side and if I've
>described everything right, and if you've done
>everything the way I think I've described it (and
>those are two very big IFs) the right hand side of the
>triangle will collapse inward leaving a narrow,
>triangular hole.
>
>Phew!  If you can actually follow that it will be a
>minor miracle.  I wish I had a digital camera or
>something so I could send you a picture of how mine
>come out.
>
>Good luck!
>
>anja
>
>
>
>_________________________________________________________
>Do You Yahoo!?
>Get your free @yahoo.com address at http://mail.yahoo.com





From: madawson <madawson@SPRYNET.COM>
Date: Tue, 01 Jun 1999 08:17:10 -0700
Subject: Re: Winged Devil/

If you spell it out (as in *g - l - u - e*  or *c - u - t* ) sometimes the
     "Origami Police" (or *c - o - p - y* in this case, kopyright extremists)
     sometimes miss it.  I've even heard those words whispered, althought I'm
     not sure how to whisper via e-mail

MaryAnn Scheblein-Dawson
madawson@sprynet.com

    -----Original Message-----
    From: Ariel <ariel@DATAPHONE.SE>
    To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
    Date: Monday, May 31, 1999 11:52 PM
    Subject: Re: Winged Devil

        >  A copy from the book is always available =
        >to a fellow folder by snail mail! =20

    Well, I almost disagree. The list is filled with " terrorist members" of
     the organization "Kopyright Liberation Group" :-) , extremists who get
     shocked at the mere idea of photocopying 4 pages of an out of print book
     that has been out of market for ma
 be 16 years ( since its last edition from 1983).

    Your comment will ignite flames over the list  :-) You have opened the
     Pandora Box !!!!! The work "copy" is taboo !!! Do not mention it openly !!!

    :-)

    The "Copyright-Macarthists" outnumber the "fellow folders" by large, in my
     humble and cynical opinion.

    However you might find someone empathic...hopefully.Good luck. I myself
     begged over those photocopies for about one year.

    Ariel/





From: Ariel <ariel@DATAPHONE.SE>
Date: Tue, 01 Jun 1999 08:56:10 +0200
Subject: Re: Winged Devil

    >  A copy from the book is always available =
    >to a fellow folder by snail mail! =20

Well, I almost disagree. The list is filled with " terrorist members" of the
     organization "Kopyright Liberation Group" :-) , extremists who get shocked
     at the mere idea of photocopying 4 pages of an out of print book that has
     been out of market for maybe
 6 years ( since its last edition from 1983).

Your comment will ignite flames over the list  :-) You have opened the Pandora
     Box !!!!! The work "copy" is taboo !!! Do not mention it openly !!!

:-)

The "Copyright-Macarthists" outnumber the "fellow folders" by large, in my
     humble and cynical opinion.

However you might find someone empathic...hopefully.Good luck. I myself begged
     over those photocopies for about one year.

Ariel/





From: Mike Wareman <mwareman@ADMIN.OLDSCOLLEGE.AB.CA>
Date: Tue, 01 Jun 1999 10:54:22 -0600
Subject: Re: Those with diagrams

Hello: I have been putting together a website of my own.  At this website are
     some origami pages.  I have been helping Paul Chabot with his Sabertooth &
     Gryphon models.  The Sabertooth is already on the website and the Gryphon
     should be there soon.  I hav
  also done some pages of tips.  This is a growing website as time permits.
     Summer is not the best time as I would rather be outside than inside at a
     computer.  Check it out any ways and let me know what you think.  If you
     ask very nicely (or bribe me wi
 h

Michael

Michael G. Wareman
Olds College, AV Services
phone (403) 556-4605
FAX    (403) 556-4705
mwareman@admin.oldscollege.ab.ca
http://www.geocities.com/SoHo/Nook/4062

>>> Paul & Jan Fodor <origami@ALOHA.NET> 05/30 12:29 PM >>>
Kaushik Patel wrote:
>
> can you please send me examples of how to make oragami ... for example
> a little creature or a camelia??
> kuni

Those you with diagrams on your website, would you please respond. Thank
you, Jan





From: hecht <hecht@CWIX.COM>
Date: Tue, 01 Jun 1999 12:41:21 -0700
Subject: Re: Steve Hecht's dollar bill heart and arrow

-----Original Message-----
From: Eric Andersen <ema@NETSPACE.ORG>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Monday, May 31, 1999 4:38 PM
Subject: Steve Hecht's dollar bill heart and arrow

>1. In steps 1 and 3 you mention "flexing" the creases, folding them both
>ways, but you don't specify this in steps 4, 5, and 6, although I think
>you mean to.

Feel free to do so.  I just haven't felt it necessary when I've folded it.

>(on a side note, I've noticed that folding the crease both ways on a
>dollar bill is very different than on kami; once a sharp crease is made in
>one direction, the opposite crease becomes a bit more difficult on a
>dollar bill as opposed to a bit easier on kami. Seems to me to have
>something to do with the grain in the paper...)

Agreed.  But flexed creases don't weaken bills as much as kami.

>2. Step 15 - what should you do with the last eighth flap? In step 25 you
>show the folds "behind the scenes", while in this step you do not.

Mea culpa.  I've corrected steps 15 and 16.

>3. That pleat in steps 15-16 (redone in step 24) really isn't clear - what
>is going on behind? It seemed that there were a lot of possibilities, and
>whatever I chose made step 31 impossible! I had to take most of that side
>apart to reengineer the model so that step 31 would be possible.

Perhaps the corrections will help.  Push down the top edge until inverted;
pinch together the two new top edges and push their left ends into the
sunken diamond (which has become perpendicular to the model) while closing
up that diamond.  A similar sink is used in my "$ Heart Ring".  Examine
those diagrams, too.

>4. The instructions on page 5 seemed to be mostly cut off. Your repeat
>behind on that page is a bit confusing, I found my second point pointing
>in the same direction as the first. I'm betting that if I had seen the
>instructions that this would not have happened.

Possibly, as they say to treat the double-thickness as a single layer.  A
bug in the Acrobat reader sometimes botches text.  See the
comment/workaround on my main diagram-index page.

>Once finished, it looks really cool...just wish that it could stand on its
own!

It can stand, if you don't bend the shaft out too far.

Thanks for the prompt feedback!
--steve





From: Rona Gurkewitz <GURKEWITZ@WCSUB.CTSTATEU.EDU>
Date: Tue, 01 Jun 1999 14:48:41 -0400
Subject: vacation and modular book

Hello folks,
    I'm leaving on vacation for two week and will be off the list.
Please send any messages about "Modular Origami Polyhedra" directly
to me, and I'll get them when I return.

Rona





From: Christopher Holt <Ella-mae@EMAIL.MSN.COM>
Date: Tue, 01 Jun 1999 14:57:09 -0700
Subject: Re: Origami for Advertising

I think anything can be photogenic; however, it has to be left to the
photographer to make it so. The angle that best displays the form of the
sculpture that you would like the reader to see may not be the best angle to
view the model at all. When I first took on John Montroll's Animal Origami
for the Enthusiast, and Origami for the Enthusiast some years ago, I was
struck by how well many of the finished models looked in comparison to the
photographed models in the books. I think it would be a nifty challenge to
go back and try to redo them, as well as a few other books whose photos do
the models no justice. I'm sure the remainder of your models lacked nothing
in attracting interest when seen in person, but perhaps the view that best
suits them is not the one that best suits your needs in your book.

> Actually, his origami skills were minimal, but he had an eye for what
would
> look good through a camera lens -- and that was worth far more.  When I
> choose models for my books, I try to choose not just good models, but good
> photogenic models.  A lot of origami that is good to fold and attractive
to
> look at is curiously uninspiring through a lens, or the subject matter
> isn't too apparent from any one angle, thus confusing the casual page
> skimmer.
>
> Of course, there's no reason why origami should be photogenic, because
very
> few models -- if any -- are created with the intention of being
> photographed, but it can mean that from a start list of 150 possibles, I'm
> pushed to find 35 photogenic models for a new book.  I'm not exaggerating!
> And then I don't always get it right.
>
> Does this sound like nonsense, or do other photographers of origami
> understand what I'm trying to say?  I think it's an important topic.
>
> Paul Jackson





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Tue, 01 Jun 1999 15:01:05 -0700
Subject: Re: Origami for Advertising (and Photography)

At 22:08 99/06/01 +0100, you wrote:
>Joseph Wu's comments on his method for preparing origami models for
>commercial photography elicit much admiration from me for his technical
>skill, but I prefer the flexibility (and ease!) of my collage method.

Thank you, Paul. I wasn't looking for accolades, but merely pointing out
that due to my inability to be present at the photo shoot, I must work in a
manner that is quite different from yours.

>Of course, there's no reason why origami should be photogenic, because very
>few models -- if any -- are created with the intention of being
>photographed, but it can mean that from a start list of 150 possibles, I'm
>pushed to find 35 photogenic models for a new book.  I'm not exaggerating!
>And then I don't always get it right.
>
>Does this sound like nonsense, or do other photographers of origami
>understand what I'm trying to say?  I think it's an important topic.

Not nonsense at all. Indeed, there's an example of a model that is not very
photogenic in my new gallery on my website. D'gou has already commented to
me privately that the face of the minotaur is very confusing in the photo I
used. I actually took five shots of the minotaur and none of them really
captured the features properly. The photo I used was the best of the five.
And yet the model is quite recognizable when viewed "in the flesh".

To make sure that models I do for advertising will work when photographed,
and so I have a record of what I've done, I usually photograph them myself
before I send them to my clients. Of course, waiting for the prints to be
developed would take too long (I don't have a digital camera yet), but
simply looking through the viewfinder of the camera (using one eye cuts out
depth perception) gives a very good indication whether or not a model works.
Of course, sometimes I still get it wrong (the minotaur is a case in point).

Lighting, too, is a major factor in getting a model to look good when
photographed. I lack skill in manipulating studio lighting, so I often shoot
my models using available light (usually natural light). I've learned to
work with natural light, but the lack of control means that I'm at the mercy
of the conditions of the day. Again, the minotaur would have worked much
better given better lighting. By setting up stronger shadows, the definition
of the features of the head would have been better achieved.

Photography is tricky business. Whenever I need really good pictures, I turn
to a professional photographer. I get lucky sometimes with my own
photography, but I can't count on it. (Of course, Photoshop is a great help!)

----------------------------------------------------------------
Joseph Wu, Origami Artist and Multimedia Producer
t: 604.730.0306 x 105   f: 604.732.7331  e: josephwu@ultranet.ca
w: http://www.origami.vancouver.bc.ca





From: Wendi Curtis <rebelgami@HOTMAIL.COM>
Date: Tue, 01 Jun 1999 17:21:32 -0700 (
Subject: Is the OUSA Convention Numbering System Rigged?

I just received my numbers for the OUSA convention.  I was wondering if all
the low numbers (< then 125) for Saturday went to those around New York
City?  (It looks like they are stacking the deck for the fireworks on
Saturday at the busness meeting!) The reason for this question is that there
are about 170 numbers between what I have for Saturday and Sunday.  In the
past, it has seemed to me that mostly New York area people have the low
numbers for Saturday's classes.  Can somebody explain how the numbering
assignment system worked this year?  Knowing a lot of people did not receive
their registration packet until late, was there anything different done this
year?

WC

_______________________________________________________________
Get Free Email and Do More On The Web. Visit http://www.msn.com





From: "Kathryn F. Wagner" <kfwagner@EARTHLINK.NET>
Date: Tue, 01 Jun 1999 18:14:18 -0700
Subject: Convention numbers

First, sorry about replying to the list instead of e-mailing June directly!

Second, as for the convention number - I live in NYC, I received my
registration packet two days after it was mailed, and hand delivered my
forms to the Home Office on that Friday (I think it was the 7th). My number
for Saturday is 309.
My number for Sunday is in the high 200's. On Friday I did a little better
and got 125.

If it's stacked in favor of New Yorkers, I don't know how they missed me!! I
spend at least 5 hours a week volunteering in the office.

>From towards the end of the Saturday line,

Kathryn





From: madawson <madawson@SPRYNET.COM>
Date: Tue, 01 Jun 1999 19:22:32 -0700
Subject: Re: Origami for Advertising

While being far from a professional photographer (and maybe not even really
close to an amature photographer either) I have taken lots of photographs of
my models and at the last few origami conventions in NY and lots of them do
not look like much at all when the pictures are developed, especially if the
background does not offer enough contrast.  Often depth and detail are not
apparent without excellent lighting (not often available).  Also, what makes
some models wonderful is the sum total of what they are, not just a view
from one angle - difficult to capture in one shot.

MaryAnn Scheblein-Dawson
madawson@sprynet.com

"Fold something.  You'll feel better!"

-----Original Message-----
From: Paul Jackson <Mpjackson@BTINTERNET.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tuesday, June 01, 1999 2:09 PM
Subject: Re: Origami for Advertising

>Joseph Wu's comments on his method for preparing origami models for
>commercial photography elicit much admiration from me for his technical
>skill, but I prefer the flexibility (and ease!) of my collage method.
>
>Incidently, before we all get carried away with how skillful we are (?),
>here's a tale:
>
>Some of you may remember the Hewlett Packard Jet Printer press ad campaign
>a few years ago, featuring origami animals.  I contributed some to the
>campaign, some others being made by a professional model maker more used to
>working in cast fibreglass.  He made the first origami animal of the
>campaign.  The advertising agency who commissioned it (Saatchi & Saatchi)
>told me that when it was published in a magazine in Germany, their German
>office received 500 'phone calls on the first day alone, requesting
>diagrams!!  Now, that IS skillful modelmaking!
>
>Actually, his origami skills were minimal, but he had an eye for what would
>look good through a camera lens -- and that was worth far more.  When I
>choose models for my books, I try to choose not just good models, but good
>photogenic models.  A lot of origami that is good to fold and attractive to
>look at is curiously uninspiring through a lens, or the subject matter
>isn't too apparent from any one angle, thus confusing the casual page
>skimmer.
>
>Of course, there's no reason why origami should be photogenic, because very
>few models -- if any -- are created with the intention of being
>photographed, but it can mean that from a start list of 150 possibles, I'm
>pushed to find 35 photogenic models for a new book.  I'm not exaggerating!
>And then I don't always get it right.
>
>Does this sound like nonsense, or do other photographers of origami
>understand what I'm trying to say?  I think it's an important topic.
>
>Paul Jackson





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 01 Jun 1999 19:51:33 -0700
Subject: Re: Convention Numbering

On Tue, 1 Jun 1999, Wendi Curtis wrote:

> I just received my numbers for the OUSA convention.  I was wondering if all
> the low numbers (< then 125) for Saturday went to those around New York
> City?

Wendi,

I'd be surprised if anyone from OUSA would respond, so I will try my best
to answer your questions.

OrigamiUSA collects registration forms for about a week after they arrive
out west.  They pool these registrations and then randomly allocate class
priority numbers.  This year I expect they had around 400 to 500 forms in
after that first week.  They use the date stamped on the envelope to
determine which pool you're included in.  There is a new pool every week.

The unfairness arises over your being pooled with three weeks of New York
submissions versus your one week limitation.  I don't know about you, but
I usually like to check airfares and arrange my roommate before I submit
my forms.  I find it very difficult to get my forms in the first week.  I
wish I had the same leisure, as other people do in New York, in being
included in the first pool.

If you want top priority in classes, sign up to be a teacher.  If you
teach two hours worth of classes, you get your pick of classes.  You sign
up for which classes you want the day before everyone else and usually get
what ever you want. The thing is, you don't need to teach some complex
thing.  They need instructors for beginning models, just as much as the
advance classes.  Its a good deal.

> (It looks like they are stacking the deck for the fireworks on
> Saturday at the busness meeting!)

The business meeting (The Annual Meeting) is usually held Sunday
afternoon.  I haven't heard that they have changed this.

For me, "the fireworks" will focus on that New York board members have the
impression that they should have a monopoly and dominion over what is done
in OrigamiUSA.  Simply, the rest of the country has been excluded from
having a say in what they want the organization to be.

I think if you were to ask the OrigamiUSA board who the organization
belongs to, they'd say to them.  I'd disagree.  I'd say it belongs to the
members.  Hopefully we can do something that will give us a voice into
OrigamiUSA's going-ons.

I hope I was able to answer your questions.

Thanks,

Allen Parry
parry@eskimo.com





From: Allen Parry <parry@ESKIMO.COM>
Date: Tue, 01 Jun 1999 20:20:05 -0700
Subject: Re: Convention numbers

On Tue, 1 Jun 1999, Bernie Cosell wrote:

> Are we to get the rather unequivocal message that low-registration
> numbers are offered to the voluteers as rewards for their efforts?

No, Bernie, office volunteers don't get any special low-registration
numbers.  I can see how you could get that from Kathryn's e-mail, but
I think she was just mentioning her efforts and the fact that her numbers
were just as average when she hand delivered her forms. (I wonder what
date they used for her, since her letter was not post marked?)

Allen Parry
parry@eskimo.com





From: Perry Bailey <pbailey@OPENCOMINC.COM>
Date: Tue, 01 Jun 1999 20:38:56 -0500
Subject: new model

Hi all,

This month's model is a turtle, made from paper with the same
dimensions as typing paper, well US typing paper 8.5 by 11 inches
that is, though I don't think that the dimensions of the paper
have to be too precise it is a fairly forgiving model that way.
I came up with it a couple years ago when there a lot of talk
about how you couldn't fold anything from american sized paper.
I hope you enjoy it, sorry I didn't have time to diagrams the
head and tail step by step but I think it is a type of fold
familiar to most of us.

Thanks

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





From: Paul Jackson <Mpjackson@BTINTERNET.COM>
Date: Tue, 01 Jun 1999 22:08:04 +0100
Subject: Re: Origami for Advertising

Joseph Wu's comments on his method for preparing origami models for
commercial photography elicit much admiration from me for his technical
skill, but I prefer the flexibility (and ease!) of my collage method.

Incidently, before we all get carried away with how skillful we are (?),
here's a tale:

Some of you may remember the Hewlett Packard Jet Printer press ad campaign
a few years ago, featuring origami animals.  I contributed some to the
campaign, some others being made by a professional model maker more used to
working in cast fibreglass.  He made the first origami animal of the
campaign.  The advertising agency who commissioned it (Saatchi & Saatchi)
told me that when it was published in a magazine in Germany, their German
office received 500 'phone calls on the first day alone, requesting
diagrams!!  Now, that IS skillful modelmaking!

Actually, his origami skills were minimal, but he had an eye for what would
look good through a camera lens -- and that was worth far more.  When I
choose models for my books, I try to choose not just good models, but good
photogenic models.  A lot of origami that is good to fold and attractive to
look at is curiously uninspiring through a lens, or the subject matter
isn't too apparent from any one angle, thus confusing the casual page
skimmer.

Of course, there's no reason why origami should be photogenic, because very
few models -- if any -- are created with the intention of being
photographed, but it can mean that from a start list of 150 possibles, I'm
pushed to find 35 photogenic models for a new book.  I'm not exaggerating!
And then I don't always get it right.

Does this sound like nonsense, or do other photographers of origami
understand what I'm trying to say?  I think it's an important topic.

Paul Jackson
