




From: "JacAlArt ." <jacalart@HOTMAIL.COM>
Date: Fri, 30 Jul 1999 17:47:48 -0400 (
Subject: Re: Tanteidan "Newsletter"

Price schmice! It's the ONLY place to get new complex diagrams! (Anyone at
OUSA listening?! Maybe a Kawahata in the next The Paper instead of another
modular paper-clip tray or 2-fold t-rex?!)
~Alec

>From: BTStern <btstern@BUFFNET.NET>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: Tanteidan "Newsletter"
>Date: Fri, 30 Jul 1999 14:28:59 -0400
>
>I guess you're right about the cost being worth it...
>
>I do pay 40$ a year for a Bob Dylan magazine...LOL
>
>Beth
>Have a Bob Day
>http://www.geocities.com/SoHo/Coffeehouse/9109/index.html
>
>----- Original Message -----
>From: Doug Philips <dwp@TRANSARC.COM>
>To: <ORIGAMI@MITVMA.MIT.EDU>
>Sent: Friday, July 30, 1999 2:16 PM
>Subject: Re: Tanteidan "Newsletter"
>
>
> > First off, June: Thanks for posting the newsletter info!
> >
> > BTStern, regarding the US cost of the Japanese Tanteidan Newsletter (put
>out
> > by JOAS), indited:
> >
> > > Wow...that's a steep price...but I guess it's like everything else you
>truly
> > > enjoy...you have to pay for it
> >
> > Actually, if you weren't also paying for delivery (international mail)
>it
> > would be less money. But not less valuable.
> >
> > Even with the cost of international mail, at 6 issues a year, with color
> > glossy photos and multiple diagrams per issue, I think it is a fair
>price.
>I
> > don't know if they will continue to offer the $30/year option where you
> > receive several issues at once in a few number of mailings...
> >
> > ORU magazine, which was obtainable in the US for about $40/issue (plus
>or
> > minus $5, I can't recall anymore), was underpriced and sadly has gone
>out
>of
> > business. I hope JOAS and the new newsletter/magazine has a long and
>fruitful
> > life! It makes a very nice complement to the NOA magazine which is about
>the
> > same quality, has simpler models (usually), and costs twice as
>much/issue.
>NOA
> > magazine comes out monthly, so they might have higher overhead costs as
>a
> > result too.
> >
> > You are right about valuing those things which you enjoy. I think
>origami
>has
> > survived a long time as an undervalued "activity." Long enough that many
>now
> > think it is not undervalued.
> >
> > -D'gou

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





From: Doug Philips <dwp@TRANSARC.COM>
Date: Fri, 30 Jul 1999 17:55:48 -0400
Subject: Re: Tanteidan "Newsletter"

JacAlArt . wrote:
>
> Price schmice! It's the ONLY place to get new complex diagrams! (Anyone at
> OUSA listening?! Maybe a Kawahata in the next The Paper instead of another
> modular paper-clip tray or 2-fold t-rex?!)

OUSA has taken the position that this is not an official forum through which
to communicate with them. But that may change.

The BOS magazine is running a complex Dragonfly by ??? (memory failure on
name), but it is in multiple installments.

-D'gou





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: Fri, 30 Jul 1999 18:17:56 -0400
Subject: Re: Tanteidan "Newsletter"

D'gou posted:

>OUSA has taken the position that this is not an official forum through
which
>to communicate with them. But that may change.
>
>The BOS magazine is running a complex Dragonfly by ??? (memory failure on
>name), but it is in multiple installments.
>

What's to keep the various groups from offering back issues of each other's
publications? One could sample what's out there without the up front expense
of a full subscription, and I imagine everyone's membership rolls would grow
as a result. Any volunteers to coordinate this one?

Scott  goodideas@nocharge.ever





From: "JacAlArt ." <jacalart@HOTMAIL.COM>
Date: Fri, 30 Jul 1999 19:49:44 -0400 (
Subject: Re: Tanteidan "Newsletter"

Kawahata? Hmm. How 'bout that!

>From: Bruce Stephens <bruce@CENDERIS.DEMON.CO.UK>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: Tanteidan "Newsletter"
>Date: Fri, 30 Jul 1999 23:14:01 +0100
>
>Doug Philips <dwp@TRANSARC.COM> writes:
>
> > JacAlArt . wrote:
> > >
> > > Price schmice! It's the ONLY place to get new complex diagrams!
>(Anyone at
> > > OUSA listening?! Maybe a Kawahata in the next The Paper instead of
>another
> > > modular paper-clip tray or 2-fold t-rex?!)
> >
> > OUSA has taken the position that this is not an official forum through
>which
> > to communicate with them. But that may change.
> >
> > The BOS magazine is running a complex Dragonfly by ??? (memory failure
>on
> > name), but it is in multiple installments.
>
>It's by Kawahata, coincidentally.

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





From: Susan Johnston <oggy@NEDDY8.FREESERVE.CO.UK>
Date: Fri, 30 Jul 1999 20:14:00 +0100
Subject: Re: 2" paper:  folds that work well (and instruction trivia)

Kyle Barger wrote:

> I recently bought a pack of 2" paper as an impulse purchase.  I've never
> worked with anything smaller than 4" paper and I'm wondering what are good
> folds to try with paper this size.

Well, i've got some 2" paper and i often make petals for flowers which can
be stuck together to form a flower on a greeting card.  I also find it fun
to do minature versions of my favourite models because they look cute really
tiny!  (Like animal models etc.)

Susan Johnston





From: Maarten van Gelder <VGelder@KVI.nl>
Date: Fri, 30 Jul 1999 20:47:10 +0200
Subject: Lampshades

Joseph Wu wrote:

> I've got a new lily (day lily, tiger lily) folded from an equilateral
> triangle, and I've been playing with pleating patterns for lampshades. Does
> that count?

Did you have a look at my lampshades?
See  http://www.rug.nl/rugcis/rc/ftp/origami/models/furnitur/index.htm
and  http://www.kvi.nl/~vgelder/origami/fototxt/lampshad.htm

And I used a pyramid also as lampshade
see  http://www.kvi.nl/~vgelder/origami/fototxt/pyramida.htm
--
Maarten van Gelder    KVI - Groningen, Netherlands    vgelder@kvi.nl





From: Spider Barbour <spider@ULSTER.NET>
Date: Fri, 30 Jul 1999 20:54:54 -0500
Subject: pet peeves

-- [ From: Spider Barbour * EMC.Ver #2.5.02 ] --

1.)  Puerile potty jokes.
2.)  Perpetuating typos/misspellings:  there's nothing wrong with replying
to a letter that has errors and spelling those words correctly in your
response.    "Penalty" and "futile" are correct; "penilty" and "fuitil" are
not.

Anita





From: Foldmaster@AOL.COM
Date: Fri, 30 Jul 1999 22:18:56 -0400 (
Subject: June's Mailing Address

 In a message dated 7/30/99 11:09:52 AM Eastern Daylight Time,
atsina@hooked.net writes:

<< Hi June,
 To where, would one mail you such a check and the information?

 Thanks,
 Kim
  >>

Sorry, all!!  In my haste to get out the information regarding JOAS
memberships, I neglected to indicate my mailing address for people interested
in having me help them get their membership directly while I'm in Japan.

My mailing address is:

June Sakamoto
9 Merrill Drive
Mahwah, New Jersey  07430

Please make sure to give me the personal details Mr. Yamaguchi requires for
the membership along with your check made out to:  June Sakamoto.  I will
cash it and bring the equivalent in yen with me to give to Mr. Yamaguchi when
I see him on August 15th.

NOTE:  I must receive the check and subscription information by August 13th
since I leave on Aug. 14th and my mail gets delivered late in the day.  If
timing is a problem, please let me know by e-mail of your intention to become
a member and I will try to do my best to inform Mr. Yamaguchi so that your
name will be recorded for the next mailing.

Sincerely,

June Sakamoto





From: Bruce Stephens <bruce@CENDERIS.DEMON.CO.UK>
Date: Fri, 30 Jul 1999 23:14:01 +0100
Subject: Re: Tanteidan "Newsletter"

Doug Philips <dwp@TRANSARC.COM> writes:

> JacAlArt . wrote:
> >
> > Price schmice! It's the ONLY place to get new complex diagrams! (Anyone at
> > OUSA listening?! Maybe a Kawahata in the next The Paper instead of another
> > modular paper-clip tray or 2-fold t-rex?!)
>
> OUSA has taken the position that this is not an official forum through which
> to communicate with them. But that may change.
>
> The BOS magazine is running a complex Dragonfly by ??? (memory failure on
> name), but it is in multiple installments.

It's by Kawahata, coincidentally.





From: Laurel Paquette <Blpaquette@AOL.COM>
Date: Fri, 30 Jul 1999 23:22:33 -0400 (
Subject: Wanted Mecho & Ocho Buttefly Designs

I am looking for the models of the Mecho (Male) and Ocho (Female)
Butterflies.  I have found many butterflies but not these ceremonial folds.

Thanks





From: Marc Kirschenbaum <marckrsh@PIPELINE.COM>
Date: Sat, 31 Jul 1999 01:12:28 -0700
Subject: Re: Tanteidan "Newsletter"

At 05:47 PM 7/30/99 -0400, <jacalart@HOTMAIL.COM> wrote:
>Price schmice! It's the ONLY place to get new complex diagrams! (Anyone at
>OUSA listening?! Maybe a Kawahata in the next The Paper instead of another
>modular paper-clip tray or 2-fold t-rex?!)

Hey, that was my "2-fold t-rex," and I happen to be proud of it. In The
Paper, we have had a pretty complex chessboard (by myself) and an involved
dragon (by Joseph Wu). As the diagram editor, I admit the emphasis is on
simple-intermediate models. As a person who really does like the
"super-complex" variety, I always have to keep myself in line on this. The
truth is that complexity is not the only issue, but space is an important
consideration as well. Perhaps serializing digagrams (a la what the BOS is
doing with Kawahata's "Dragon") is a good idea. Still, we have to cater to
the lowest common denomonator (and it is a large denomonator at that) by
appealing to those who are looking to complete an origami model with their
fingers still intact. The purpose of The Paper is evolving, and
dissemination of new origami works might be one of the most popular items,
but it is kind of low on in terms of purpose (letting members in on the
latest news and events is mopre critical). Most of the complex models we
receive are used in our Annual Collections, which is our veichle for
getting exciting diagrams out to the public (from simple to complex).

Marc





From: Dribalz@AOL.COM
Date: Sat, 31 Jul 1999 01:31:32 -0400 (
Subject: Dogmatism and other stuff I am folding

Dogmatism??  What is that?  Astigmatism in dogs?  I thought they were myopic,
and saw mostly in black and white and grays.  Oh well I guess anything is
possible.

So what have I been folding?  Well, like Sonia Wu, I have been working on
that excellent Fuse heptagonal box, and the associated flower/star lid.  I am
using that new paper from Sweden--Kraft Skin.  It is duo color, and folds
very well.  The model is published in Origami Tanteidan 55, which I got at
the convention when I subscribed.  Like previous comments on the list it is
worth the $40 (US), and in one issue, I feel like it is a winner of a
publication in its new format.

I have been trying to miniaturize the model, and have succeeded in shrinking
the box and the lid to the slightly smaller than the width of a dime.

Anyone interested in seeing a JPEG, email me privately (Dribalz@aol.com).

Andrew (Dr. Eyeballs) Hans





From: Rob Moes <robmoes@EARTHLINK.NET>
Date: Sat, 31 Jul 1999 11:20:14 -0400
Subject: Re: Fuse origami boxes/single sheet

David writes:

>I'm curious what's y'all's favorite Fuse boxes book and why.  I know of
>three in print in USA: Origami Boxes, Joyful Origami Boxes and Fabulous
>Origami Boxes.  Is it just me or does it seem that Origami Boxes is a
>proper subset of Joyful Origami Boxes?  I know that there is other boxes
>books in print in Japan.  Is the single sheet book hard?

Yes, you must be thinking of the Japanese book that translates as "Origami
Gift Boxes." The ISBN is:  4-140-31068-5.  Published by NHK, 1995.  This is
the book to get if you're starting to think you've seen all the subsets.
These boxes are stunning and can be achieved out of unusual and expensive
papers...once you are brave and defiant.

The single sheet boxes are all out of long rectangles which are
twist-folded.  Twist folding does take some practice, so I would advise
starting with the square box before you jump head first into the
octagons...   :)  She does have helpful photos of the intermediate twisting
steps.  It does require an initial folding into fifths for the square box,
sevenths for the hexagon, ninths for the octagon...make sure you have
practiced doing this before launching into any of these boxes!

Obviously the octagonal boxes require longer rectangles than the hexagonal
boxes and so on.  She gives some suggested starting sizes (like 1/4 of an
A4 sheet...something like that) and dimensions of the finished box.  It can
be frustrating having to work around the Japanese text, but you can count
squares on the crease-pattern diagrams and get a rough idea that way.

These Fuse boxes are unusual because in many cases the tops and bottoms are
interchangeable, with distinctive convex and concave 3-dimensional
qualities, depending on the crease pattern.  She has many color photos of
finished variations (the hexagonal boxes have the most variations.)  You
may even feel inspired to try deriving crease pattern variations of your
own...

You can custom design these boxes to be very tall or very short, depending
on the "height" of the paper you choose.   For example, if you choose the
domed octagonal box top and start with a square sheet of paper, you will
have a very tall box top reminiscent of a birdcage.  If you start with a
2:1 rectangle (half square) you will have a short and stout box top like
the shell of a tortoise.  You can make the same-sized bottom box for each
and have a "tall box & short box" display.  You can also experiment with
putting the two tops together and making a unique egg-shaped box.

Occasionally I have ended up with a box that seemed too tall and flimsy,
and I simply pleated some of the excess...either showing like a contrasting
"hat band" or hidden by folding underneath into the interior of the box
(box top or box bottom.)  This little "hat band" trick is worthwhile to
remember:  1) if you're using quite thin paper and want to reinforce the
junction between top and bottom or 2) if you simply want to take advantage
of two-color paper to create an accent where top and bottom meet.

Keep in mind that if you do make extra pleated layers at the junction or
use quite thick paper, you should find yourself trimming a few millimeters
from the total width of the box bottom to allow it to fit properly.  I
would recommend the slight trim in every case, just to avoid frustration
later on.

If you haven't tackled the modular Fuse boxes that start from rectangles in
the ratio of 1:1.414 (square root of 2), these *are* worth investigating,
and she has some brilliant examples in this gift book as well.

For my money, if I've invested in buying a sheet of fabulous chiyogami, I
want as much of the pattern to show through as possible in the finished
design.  I find the single sheet boxes to be most satisfying in this regard.

I hope that I have intrigued some of you into looking for this book, which
is quite expensive and may be difficult to find.  The myriad variations and
the ability to custom-design so many boxes will provide many hours of
challenge even to experienced folders.

Rob
robmoes@earthlink.net





From: Leigh Halford <Leigh451@AOL.COM>
Date: Sat, 31 Jul 1999 11:39:45 -0400 (
Subject: Sci Fi origami

Any more Star Wars and Sci-fi enthusiasts out there? I want to start a links
page and a few addresses would be good.





From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Sat, 31 Jul 1999 13:17:29 +0200
Subject: Animal books?

Hello!

I have come to the realization that in order to fold a paper animal
successfully, you have to be quite familiar with the appearance of the
real animal. And in order to successfully design a paper animal, you
have to know the real animal even more intimately -- sometimes including
its bone structure!

I'd like to know: Which books do you use to find out the shape of a
camel's ears, or a vulture's beak, or a swan's head? Where do you look
up the appropriate posture for a tiger, or for a rhino?

I have a big encyclopedia, with drawing of about 2000 animals. It was
given to me when I was about twelve, and I never once looked at it --
until I started folding animals and found that I had to find out how the
real animal looks before I could fold it properly.

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





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: Sat, 31 Jul 1999 14:56:55 +0200
Subject: Animal books?

I haven't so far designed any animals in Origami, but I did once think
about making a toy tiger and borrowed a book about tigers to get an idea.
It was full of splendid  photographs with tigers in all possible positions,
so it was a good visual reference. I still haven't designed or made the
toy, but I do know how I would do it and keep the pattern in mind.

As a rule, I'd prefer a book about the specific animal you want to design
to a more general book, and I would prefer a book with photographs to a
book with drawings.

And if you can't find a specific book, try magazines like The National
Geographic or Geo, they also have high quality pictures. The National
Geographic also has a Website. Or try searching the Web for the animal you
want.

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: Lory <lory@NETSIS.IT>
Date: Sat, 31 Jul 1999 18:45:18 +0200
Subject: Adolfo Cerceda: LION

I've tried to fold Adolfo's Lion from "Secrets of Origami: the
japanese art of paper folding" written by Robert Harbin that collect
some models from some authors.
I've a problem with Adolfo's Lion:

page 170, firts part of Lion, the Head. How can I do to fold the step
6 ?
The step 7 is a "Half-way folded" (from step 6 to step 8) that I have
understood, but I don't obtain the same result of step 8.
If anyone have the book and can to explain me which fold are
mountain-fold and wich are valley-fold ... or some other things to
help me...

Thank you,
Lorenzo

 ----------------------------------------
   Lorenzo Lucioni       lory@netsis.it
   Parma, Italy             ICQ: 397363





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: Sat, 31 Jul 1999 12:01:12 -0700
Subject: Re: Animal books?

At 13:17 99/07/31 +0200, Sebastian wrote:
>I have come to the realization that in order to fold a paper animal
>successfully, you have to be quite familiar with the appearance of the
>real animal. And in order to successfully design a paper animal, you
>have to know the real animal even more intimately -- sometimes including
>its bone structure!

You got it! Can't depict something until you know what it looks like. Even
if you are designing a caricature of the animal (or other subject), you need
to know what a real one looks like before you distill it down to the
features you want to exaggerate.

>I'd like to know: Which books do you use to find out the shape of a
>camel's ears, or a vulture's beak, or a swan's head? Where do you look
>up the appropriate posture for a tiger, or for a rhino?

I have a large collection of nature books with photos of creatures. If I
can't find what I want in my own collection, I go to the library or surf the
'Net (as Julia suggested).

----------------------------------------------------------------
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: "Michael J. Naughton" <mjnaught@CROCKER.COM>
Date: Sat, 31 Jul 1999 18:55:01 -0400
Subject: Re: modular origami info?

Ronald Koh asked:
> Is anyone on the list able to provide some history on the development of
> modular origami? . . .

I don't think the authors will mind my saying that in the introduction to the
first edition of Rona Gurkewitz and Bennett Arnstein's "3-D Geometric
Origami" they thank ". . . the pioneers of this field: Lewis Simon, Bob Neale,
Jack Skillman, and Sonobe. . .", and they say that these four started
folding modulars in the 1960's. I have heard privately that Bob Neale credits
Jack Skillman with starting him on modulars, but I, too, would like to
learn more about the exact chronology (if anyone knows or remembers). . .

Mike "It's too hot for a snappy signoff!" Naughton





From: Doug Philips <dwp@TRANSARC.COM>
Date: Sat, 31 Jul 1999 19:52:34 -0400
Subject: Re: Fuse origami boxes/single sheet

Rob Moes, replying to David's query about Fuse's books on boxes, indited:

+Yes, you must be thinking of the Japanese book that translates as "Origami
+Gift Boxes." The ISBN is:  4-140-31068-5.  Published by NHK, 1995.  This is
+the book to get if you're starting to think you've seen all the subsets.
+These boxes are stunning and can be achieved out of unusual and expensive
+papers...once you are brave and defiant.

An excellent message, though I'm puzzled by the use of "defiant" except for
which I otherwise also fully and heartily agree with Rob.

+qualities, depending on the crease pattern.  She has many color photos of
+finished variations (the hexagonal boxes have the most variations.)

Not only is this a book containing stellar models, I think it is her
best "produced" book, the photography, layout, and style are
exemplary.

Just as Fuse's "Unit Origami: Multidimensional Transformations" is
_the_ unit origami book to get if you are going to get only one, so is her
book "Origami Gift Boxes" _the_ box book to get if you get only one. It seems
a bit thin, but it is dense with great boxes, don't be fooled by its
appearance.

+I hope that I have intrigued some of you into looking for this book, which
+is quite expensive and may be difficult to find.  The myriad variations and
+the ability to custom-design so many boxes will provide many hours of
+challenge even to experienced folders.

I checked the "big four" online origami sources:
        Fascinating Folds (http://www.fascinating-folds.com/)
        Kim's Crane (http://www.kimscrane.com)
        Origami USA's Source (http://www.origami-usa.org/)
        Sasuga (http://www.sasugabooks.com)

As far as I could tell from the search results, only Origami USA lists
this book, though their online catalog says: "Buy while the supply of
this great book lasts." so they or may not still have any in stock.

But it may be that David was asking about another Fuse book which is more
widely available: ISBN 4-480-87203-5 variously translated, but essentially
"Boxes from One Sheet" which is not nearly as nice a book as the one Rob
described, but is not a bad book. I personally don't care much for the
designs, and don't like boxes whose lids don't completely detach from the
boxes, but again, that is just personal.

-D'gou





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: Sat, 31 Jul 1999 20:03:10 -0400
Subject: Biz Card Dodecahedron ("Turrets")

An July 24-26th exchange (Alasdair Post-Quinn, et al.)
on the list included the following, quote:
==============================================
  >In theory it should be possible to produce a platonic dodecahedron by your
  >method. I've had several attempts at this over the years but never fully
  >succeeded.

    i think a method of producing a platonic dodeca from a cube is detailed in
    origami omnibus; perhaps when i have more business cards i will try this...

=============================================

It has been done; 18 cards make a dodecahedron similar to Alasdair's rhombic
dodecahedron, i.e. the pentangonal faces consist of a solid plane trapezoid
and a hollow isosceles triangle. As with the rhomb.dodec, trapezoidal "tents"
are erected on the faces of a panelled "Mosely Cubie".

This is indeed similar to the Kasahara model in "Omnibus".

And additional 6 cards, for a total of 24, will produce a completely
solid dodec, with the upper triangles of the faces filled in.

I had assumed that Jeannine had already done this model, but had never
actually asked. Since she didn't bring it up during this recent thread,
perhaps not.

My solution is not geometrically exact; it uses the same approximation
of the the 108 degree angle as the well-known paper "strip" dodec by
Simon/Neale/Plank(?), a model currently in print in Simon et al.,
"Modular Origami Polyhedra" (Dover ISBN 0-486-40476-5).

As with many modular origami polyhedra, the 108.4something degree
angle approximation is compensated for by the paper thickness and
folding "errors", especially in the solid 24 card version, and the
model is quite satisfactory and nice looking.

Photos & explanatory text at:

http://member.aol.com/polygons/bcards/abcdodec.htm

The same thread mentions biz card sources. Any ABC (American
Business Card) design can be produced from 4:7 ratio rectangles,
though usually the paper needs to be fairly heavy in proportion
to the size of the cards, similar to real ABC's.

Valerie Vann





From: "Jerry D. Harris" <LOKICORP@COMPUSERVE.COM>
Date: Sat, 31 Jul 1999 20:28:00 -0400
Subject: Re: Pop-eyed Ichthyosaurs?!?

Message text written by Origami List
>Oops, looks like I started another cross Atlantic translation problem.
When I said 'bug-eyed' I really mean large eyed.  The pictures I have seen
have shown Ichthyosaurs with relatively large eyes compared to the head
size.
The modern day Dolphins (sitting in the same evolutionary niche ?) have
much
smaller eyes in comparison.<

        This is true -- ichthyosaurs have fairly large eyes for their
skulls.  Why, I am not sure.  Ichthyosaurs are also much more compressed
mediolaterally -- that is, when viewed head-on, they are very skinny, much
more so than dolphins.  This is because ichthyosaurs are much more like
fish in their swimming strategy -- they have vertically oriented tails that
pump side-to-side to propel the body forwards; a deep top-to-bottom and
narrow side-to-side morphology is ideal for this kind of locomotion;
dolphins, on the other hand, have horizontal tails that pump up-and-down
for propulsion, and the more cylindrically-proportioned body seems better
suited for that particular locomotory strategy.

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

 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: "Jerry D. Harris" <LOKICORP@COMPUSERVE.COM>
Date: Sat, 31 Jul 1999 20:30:11 -0400
Subject: Animal books?

Message text written by Origami List
>I'd like to know: Which books do you use to find out the shape of a
camel's ears, or a vulture's beak, or a swan's head? Where do you look
up the appropriate posture for a tiger, or for a rhino?
<

        There are numerous coffee-table style books on most popular animals
and animal groups, chock-full of great photos for lots of such details.
However, absolutely nothing beats going to the zoo (particularly if you're
fortunate enough to be near one of the big, well-stocked zoos!) and seeing
things in person.  Some details can't be easily captured in a still photo,
such as nuances of arm and leg positions while ambulating -- seeing the
animal move in all 4 dimensions is the best thing!

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

 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: Rona Gurkewitz <GURKEWITZ@WCSUB.CTSTATEU.EDU>
Date: Sat, 31 Jul 1999 22:19:07 -0400
Subject: Re: modular origami info?

The sources for the info in our book are Bob Neale and Sam Randlett,
the author of The Art of Origami and The Best of Origami and the
newsletter The Flapping Bird. Sam Randlett says that Jack Skillman
was the first modular folder in the US. Bob Neale told me that one
day he saw what must have been a kusudama and he thought, "I can
fold that" and then he folded one.

Also, in the early 70's when I met Lillian Oppenheimer, I got to
look through her files (looking for modulars) and I saw folds by
Skillman, Neale Simon and Toshie Takahama.

Rona





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: Sat, 31 Jul 1999 22:45:30 -0700
Subject: Re: Singaporean Origami Webpage

Those are great folds.  Now I have several questions.  How thick is
photostating paper, is it something widely available and is it good for
origami?  Excuse my ignorance I never pay attention to the world around me.
There is something that I haven't asked.  For folding animals what is the
paper that makes the best result (dryfolding here!) ?  To not make a mess
of the list the last question can be replied individually to me, unless
other people are curious.  Happy folding!

David





From: "JacAlArt ." <jacalart@HOTMAIL.COM>
Date: Sat, 31 Jul 1999 23:27:35 -0400 (
Subject: Re: Tanteidan "Newsletter" (ATTN: Marc K.)

Didn't mean to offend you Marc. I happen to love your stuff and always look
forward to the Annuals when I can fold a 'new Kirschenbaum'! I only wish I
had that to look forward to more than once a year. Look at what
Tanteidan,BOS, and BARF are doing. There is definitely a market/desire for
more complex offerings. And the 2-fold T-Rex comment was not a slam on you
-- it was simply a vented frustration put towards a publication that
continues to disappoint me.
~Alec

>From: Marc Kirschenbaum <marckrsh@PIPELINE.COM>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Re: Tanteidan "Newsletter"
>Date: Sat, 31 Jul 1999 01:12:28 -0700
>
>At 05:47 PM 7/30/99 -0400, <jacalart@HOTMAIL.COM> wrote:
> >Price schmice! It's the ONLY place to get new complex diagrams! (Anyone
>at
> >OUSA listening?! Maybe a Kawahata in the next The Paper instead of
>another
> >modular paper-clip tray or 2-fold t-rex?!)
>
>Hey, that was my "2-fold t-rex," and I happen to be proud of it. In The
>Paper, we have had a pretty complex chessboard (by myself) and an involved
>dragon (by Joseph Wu). As the diagram editor, I admit the emphasis is on
>simple-intermediate models. As a person who really does like the
>"super-complex" variety, I always have to keep myself in line on this. The
>truth is that complexity is not the only issue, but space is an important
>consideration as well. Perhaps serializing digagrams (a la what the BOS is
>doing with Kawahata's "Dragon") is a good idea. Still, we have to cater to
>the lowest common denomonator (and it is a large denomonator at that) by
>appealing to those who are looking to complete an origami model with their
>fingers still intact. The purpose of The Paper is evolving, and
>dissemination of new origami works might be one of the most popular items,
>but it is kind of low on in terms of purpose (letting members in on the
>latest news and events is mopre critical). Most of the complex models we
>receive are used in our Annual Collections, which is our veichle for
>getting exciting diagrams out to the public (from simple to complex).
>
>Marc

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





From: "JacAlArt ." <jacalart@HOTMAIL.COM>
Date: Sat, 31 Jul 1999 23:30:11 -0400 (
Subject: new diagrams are up

New diagrams of my Pregnant Woman and Gas Pump are up on my web site. A few
cautions: high graphical content may mean long load times, best viewed at
600x800 screen resolution, all diagrams in PDF form (make sure you have the
Adobe Acrobat Reader plug-in).
URL is:
http://members.home.net/jacalart/menu.htm
~Alec

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





From: Isa Miller <-isa-@EXCITE.COM>
Date: Sun, 01 Aug 1999 02:49:19 -0700 (
Subject: Re: [NO] dogmatism in pronouncing words from other languages in english

On         Thu, 29 Jul 1999 12:49:37 -0700, Joseph Wu wrote:

> At 12:30 99/07/29 -0700, Christopher Holt wrote:
> >Would it be right and proper for me to chastize almost everyone in the
state
> >of Texas for taking liberties with our own national language (that'd be
> >English, I assume)?

Please, let's don't bring Texas into this. I do the best I can!!

> >On the
> >flip side, the first time I heard a southerner speak French I darned
near
> >laughed my derriere off, but didn't feel I could tell him to pay respect
to
> >the language.

That is exactly why I NEVER speak French. I can understand it, even write
it, but I never speak it....it's just too funny coming out of my mouth.
Worse, the teachers in this part of the country (Texas) teach French with a
Texas accent. Just imagine that for a moment. Then believe me, the actuality
is even funnier than what you just imagined.

> >Non-native speakers often attempt English with poor results--I
> >hope no one will argue that they should be laughed at for missed
attempts,
> >even if they are chronic.

Once, years ago, I had a friend from Africa who was attending college in the
US. Her pronunciation of English was so mangled that I would have to repeat
syllable by syllable what she was trying to say, then try to figure out wha
the words were. Sometimes it would take me four of five repetitions before I
got it right. Still, I never quit trying. After all, she spoke English much
better than I could speak her native dialect. I admire anyone who has the
courage to tackle a foreign language.

> It's a different story for new words imported from another language.
There's
> an external reference to how the word is pronounced. If, given that
> reference, a person is still unable to say it properly, fine. If,
however,
> they just can't be bothered, then there is an attitude of colonialism and
> "imagined superiority" at work.

I don't know about the "superiority" at work. Sometimes even if you know the
"correct" pronunciation, you wouldn't be understood if you said it. Certain
regions pronounce words a certain way. If you pronounce it differently, they
won't understand you. And communication IS the purpose, right?

Isa

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From: Isa Miller <-isa-@EXCITE.COM>
Date: Sun, 01 Aug 1999 03:23:23 -0700 (
Subject: Re: [NO] people

On         Sun, 25 Jul 1999 16:57:51 -0500, Perry Bailey wrote:

> Nick Robinson wrote:
>
> > No - most of us are old geezers (42)
>
>Perry wtote:

>YOIKS!! you too?!?  As long as you weren't born in december, that
> would be scary!

Ummmmmmm.........I was born in December, but I'm still a youngster at
41.....

And a mewling infant in origami years: about 2. (I just wish I were
experienced enough to have some ideas worth stealing.)

Isa

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From: Isa Miller <-isa-@EXCITE.COM>
Date: Sun, 01 Aug 1999 04:04:35 -0700 (
Subject: Re: Animal books?

On         Sat, 31 Jul 1999 14:56:55 +0200, Julia Palffy wrote:

>Or try searching the Web for the animal you want.

FYI, there is a search engine that will return only pictures at
http://www.scour.net/
I know some people do not like this search engine because it circumvents the
intention of the webmasters, i.e., to visit their site. However, when you
are looking for a specific thing, like a picture, and you are not interested
in accompanying text, it can save you countless hours of surfing.

Have fun--
Isa

________________________________________________________________
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From: Isa Miller <-isa-@EXCITE.COM>
Date: Sun, 01 Aug 1999 04:26:12 -0700 (
Subject: Re: [NO] dogmatism in pronouncing words

On         Sun, 1 Aug 1999 11:59:13 +0100, Dennis Walker wrote:

> Hello,
>
> >If you pronounce it differently, they
> > won't understand you. And communication IS the purpose, right?
> >
> > Isa
>
> If communication is the purpose, then surely the best approach is to
> adopt ONE pronunciation of a word and stick to it!
>

This brings up an interesting point. I find that I tend to adopt the accent
of the person I am talking with. For instance, if I am talking to someone
with a heavy Texas accent, I notice that my own accent becomes heavier. If
I'm talking to someone from another area of the US, after a bit my
inflections tend to match theirs. I suppose that is why people's accents
change when they move to a different area of the country. I have moved
around so much that my accent is a mishmash of everything southern (in the
US). Yet there are certain words that come out strictly in the accent of the
place that I associate with that word. New Orleans, for example, always
comes out "N'Awlins".......San Antonio will always be "San Antone".

I don't think any word will ever have just ONE pronunciation. But then,
what's life without creativity?

Isa

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From: Isa Miller <-isa-@EXCITE.COM>
Date: Sun, 01 Aug 1999 04:57:36 -0700 (
Subject: Re: Geezerhood and TP

On         Tue, 27 Jul 1999 15:01:09 -0700, Christopher Holt wrote:

> ----- Original Message -----
> From: Kennedy, Mark <KennedyM@DNB.COM>
>
> >i.e. a mom who cuts a piece of cake in half and tells the kid to take
> > one. According to the mom's view and by definition since the cake was
cut
> in
> > half - each piece is equal. Any kid will analysis the two pieces - the
arc
> > of the cake, the thickness of the icing, the number of sprinkles, gum
> drops
> > and a host of other variables before deciding on which one is bigger.
>
> The bigger piece of cake goes to the bigger kid. Analysis just makes the
> loser feel bad. I had to settle and be happy with the smaller piece. But
I
> learned to appreciate cake more, and appreciation beats satiation anyday
in
> my book.

Alright, now. Any mom with kids knows the proper way to divide the cake. If
you have two kids, one gets to cut the cake and the other gets to choose his
piece first. Keeps 'em both honest. If the cutter doesn't get it exactly
equal, the chooser will get the biggest half.

*grins*

Isa

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From: Sebastian Marius Kirsch <skirsch@T-ONLINE.DE>
Date: Sun, 01 Aug 1999 09:16:57 +0200
Subject: Re: Singaporean Origami Webpage

On Sun, Aug 01, 1999 at 11:45:31AM +0800, Ronald Koh wrote:
> A young man with whom I had some contact a couple of years ago came out
> of self-imposed isolation recently, after completing his tertiary
> education.

That's a rather euphemistic description for "military service", isn't
it?

> Although Teik Seong has not done any creative folding yet, His
> interpretation of the works of Kawahata, photography and webpage design
> are quite remarkable,

And what's most remarkable about the stuff he does is that he uses
simple, plain photocopying paper. I mean, with the fancy stuff I use
(watercolour paper, mulberry paper, foil-backed paper &c.) it's not
difficult to produce fancy stuff, but with plain photocopying paper ...

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





From: "Jerry D. Harris" <LOKICORP@COMPUSERVE.COM>
Date: Sun, 01 Aug 1999 09:21:20 -0400
Subject: Still on misspellings

Message text written by Origami List
>"Oooooohh.... and, can you tell me HOW one
teaches orgasmi (= orgasms) ?"<

        I had this happen, too -- just after I started doing origami in
high school, I had Kasahara's _Creative Origami_ with me in the library,
propped up, while trying to fold something during a free hour.  Someone
walked by and, reading the title aloud, said "Creative Orgasms?!?"

        Similarly, when reading a compilation of H.P. Lovecraft's stories
entitled _Bloodcurdling Tales of Horror and the Macabre_, a fellow high
school student read the title aloud, confusedly, as "Bloodcurdling Tales of
Horror and Macrame?!?"

        Sadly, these two students undoubtedly graduated...  8-/

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

 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: Maarten van Gelder <VGelder@KVI.nl>
Date: Sun, 01 Aug 1999 10:01:29 +0200
Subject: Re: Lampshades

Joseph,

> By running that plate on his press without ink, we can
> score a piece of paper with the pattern so that it can be folded easily.

What size of paper do you plan to use?
Do you make a 'closed' lampshade?
Or do you make a kind of window structure?
Like my windowdecoration (the background image of my home page).
That is made from 100 x 100 cm and ends up at 75 x 75 cm.

> The other idea deals with the standard pleated table lamp shade (a cone
> shape with the point chopped off). I've discovered a way of making the
> pleats change direction halfway (valleys become mountains, and vice versa).
> Others have played with this construction before (e.g. Biruta Kresling's
> work), but it's usually used as a tessellation, not as a single
> direction-change element. And I've never seen it on a lampshade before,
     either.

I'm interested in this structure. Do you have any pictures or drawings
of it?

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





From: Ronald Koh <ronkoh@SINGNET.COM.SG>
Date: Sun, 01 Aug 1999 11:29:21 +0800
Subject: Re: modular origami info?

Rona Gurkewitz wrote:
>
 Sam Randlett says that Jack Skillman was the first modular folder in
the US.

I may be wrong, but the few Jack Skillman creations I've seen, like some
of the early kusudamas, need to be glued together. The development of
self-interlockable units, like the Sonobe unit (which Sonobe himself
does not claim to have designed), seems to have occurred somewhat later.
Grateful if some one on the list could share some of this history.





From: Ronald Koh <ronkoh@SINGNET.COM.SG>
Date: Sun, 01 Aug 1999 11:45:31 +0800
Subject: Singaporean Origami Webpage

A young man with whom I had some contact a couple of years ago came out
of self-imposed isolation recently, after completing his tertiary
education. He has an interesting origami webpage at
http://web.singnet.com.sg/~tkteik.

Although Teik Seong has not done any creative folding yet, His
interpretation of the works of Kawahata, photography and webpage design
are quite remarkable, and certainly worth a visit. Of course, I do admit
to some nationalistic biase (again) as he is a fellow Singaporean. I do
feel that he is probably the best folder out of Singapore for quite some
time and expect a lot more from him in future.





From: Dennis Walker <TheWalkers@INAME.COM>
Date: Sun, 01 Aug 1999 11:59:13 +0100
Subject: Re: [NO] dogmatism in pronouncing words

Hello,

>If you pronounce it differently, they
> won't understand you. And communication IS the purpose, right?
>
> Isa

If communication is the purpose, then surely the best approach is to
adopt ONE pronunciation of a word and stick to it!

The problem I find is that if I want to look up the pronunciation of a
word then I am bound by
1. The vagaries of the dictionary
2. Fashion!!
3. The fact that I pronounce the example words differently from someone
else!

For example, I am a Scot. The dictionary that we use at work
differentiates betwenn the 'a' sound in 'cat' and the 'a' sound in
'father'. To most Scots this is utterly ludicrous! In our accent (NOT
dialect!) these words have the same 'a' sound. In some parts of England
the 'a' sound in 'father' sounds to me like 'faarther'!
To make it worse, if I use a dialect (based on slack pronunciation) then
it will sound like 'fayther','fether' depending on whether I use an East
coast or a West coast version!

        As for people liking or preferring their own pronunciations, I can
state quite clearly that this is not so. The Broad Glasgow accent is
pretty awful (ask anyone in England who tried to watch Rab C. Nesbitt!
even Glaswegians don't like it but being Glaswegians will refuse to
change for anyone but themselves!) and the Brummie accent is almost
universally despised ;-). On the other hand light Yorkshire, Irish and
Welsh accents are rather pleasing to most people.

                        Dennis
                        (Awaiting the flames from Glasgow!!)





From: DLister891@AOL.COM
Date: Sun, 01 Aug 1999 12:11:31 -0400 (
Subject: Mecho and Ocho Butterfly Designs. Post Scriptum.

I thought tht I had got it wrong - and so I had, if you take into account all
the typographical errors in my earlier posting , including "interactions"
instead of
"instructions" in the last line but one and many others that I really should
have spotted. There's an intelligent spell-checker for you!

But what really concerned me was that I had failed to make any reference to
Florence Temko's Wedding Butterfly from the book "Wedding Origami" which she
wrote with V'Ann Cornelius. After Jane Rosemarin made her original request
for information about wedding butterflies, Joyce Saler posted a note to
Origami-L to sy that Florence Temko had a traditional butterfly in "Wedding
Origami".

If this had been  a Mecho or an Ocho Butterfly, with instructions for
folding, I should have owed a profound apology to Florence.

However, I have found Florence's Butterfly in the book and while it is a very
attractive butterfly, it is not and does not purport to be a Mecho or an Ocho
Butterfly. Florence writes that the directions show how to make "a simplified
version of a clssical design." The back flap of the cover says that it was
inspired by Akira Yoshizawa,so that what Florence's butterfly, is a
simplified version of Yoshizawa's butterfly, one of the great classic folds
of modern origami, but somewhat tricky for a child to fold

In her introduction to the fold, Florence writes that the two butterflies
represent the bride and groom changing form on way of life to another. Perhps
this is a reference to the caterpillar changing first into a crysalis and
then emerging as a butterfly in all its glory.

But whatever the particular form of the origami butterfly and whatever the
symbolic meaning, butterflies are surely a delightful way to decorate a
wedding. Let us hope that in the West as well as in Japan, wedding
butterflies will become just as much a tradition as wedding cake and confetti.

David Lister.





From: DLister891@AOL.COM
Date: Sun, 01 Aug 1999 12:17:30 -0400 (
Subject: Mecho and Ocho Wedding Designs.

Two days ago Laurel Paquette wrote to Origami-L to say that she was looking
for models of the Mecho (male) and Ocho (female) Japanese butterflies. She
said that whereas she had found many informal butterflies in origami books,
she had not found these ceremonial folds. From her letter, it isn't clear
whether Laurel is looking for instructions for folding Mecho and Ocho
Butterflies, or whether she is just looking for illustrations of them. There
are, in fact, far more illustrations scattered in paperfolding books than
there are instructions for folding the butterflies.

On 3rd January, this year, Jane Rosemarin also wrote to say that she proposed
to give a talk on Japanese culture and wanted to make some traditional
wedding butterflies. So far I have never managed to respond to Jane's
request, and I am afraid that whatever I do now will be too late for her talk
on Japanese culture. I have been planning to write a posting abut the origins
of the Wedding Butterflies and how they are still used today in Shinto
wedding ceremonies, but my fuller article will have to wait and for the
present, I will limit myself to saying something, however inadequate, about
the actual folding of the butterflies.

It is important to point out from the start that there are not and never have
been any fixed designs for the Mecho and the Ocho butterflies. Some forms are
more elaborate than others. The male (Mecho) is always a little or a lot more
elaborate than the Ocho. Sometimes the butterflies are folded only from
paper. On other occasions, they are also entwined with Mizuhiki strings, the
red, silver, gold and sometimes black ceremonial strings which the Japanese
use to accompany their ceremonial paperfolding.

Jane Rosemarin said that the butterflies were illustrated, but not diagrammed
on page 35 of Eric Kenneway's "Complete Origami" and she said she had been
able to reverse engineer something close with a waterbomb base. The Mecho and
Ocho butterflies which illustrate Eric's page are among the simplest Mecho
and Ocho Butterflies that I have seen and reasonably easy to copy. I think
that Jane must be getting near, but reverse engineering can properly be
applied only to an actual model and not to a drawing of a model which is
observed from only one particular angle, so that some conjecture is also
required.

In his book Eric Kenneway writes that Dokuohtei Nakano has written "Challenge
Origami", a book devoted entirely to the techniques of folding butterflies,
in which he uses the model for a decorative butterfly as an exercise in
practising miscellaneous origami procedures. Eric Kenneway does not reveal
that it was he himself who translated "Challenge Origami" into English. The
Japanese text is retained in the top left-hand corner for each model and the
English appears at the foot of the page. Interestingly, Toshie Takahama, who
recently did, contributed the Preface

Curiously enough, while Nakano includes a wide variety of butterflies, he
does not include either a picture of or diagrams for the formal Mecho and
Ocho Butterflies.

Another more elaborate illustration of Mecho and Ocho Butterflies is shown on
page 22 of Isao Honda's Complete Origami. The complexity of the actual
paperfolding is no greater than that shown in Kenneway's "Complete Origami",
although the butterflies are both distinctly different. However they also
have attached to them elaborate mizuhiki knots. Surprisingly for Honda, he
does not give instructions for folding the Mecho and Ocho Butterflies and the
only other butterfly in "The World of origami" is a different and quite
simple butterfly. However, with the butterflies, he illustrates what he calls
a "flower ornament" for a sake container. It is generally thought that the
Mecho and Ocho Butterflies, which usually, but not always, to this day
accompany sake flasks and bottles, originated as paper covers over the necks
of sake flasks. At first they were simply utilitarian, but later the
haphazard creases were tidied up and then made more regular until the formal
ornamental cover evolved. It is fairly easy to make. Fold a waterbomb base
and then squash fold each or the four flaps as though you were going on to
fold a frog base. Then fold down the apex where the creases meet at the
centre of the paper,, to make a crease which encircles the apex, about an
inch form the centre. Then "Balloon out" the apex and it will form a kind of
bonnet which will fit over the neck of the container. You can use a wine
bottle (or even a beer bottle) for practice, but a nice long-necked flask
gives the best effect. Arrange the squash folds neatly round the neck of the
bottle; tie with string of ribbon and you have the Sake Bottle Cover. Only
this morning I glanced at our rectangular kitchen table and noticed that the
tablecloth had naturally formed the same sort of long triangular patterns as
it hung from each of the square corners.

When you have done this, it is easy to see how the sake  bottle cover
resembles a butterfly and with a little modification it can be made to
resemble one even more. Perhaps the ceremonial Mizuhiki strings on the Mecho
and Ocho Butterflies are relics of the string used to tie the cover over the
neck of the sake bottle and certainly Honda assumes this and says that today
silver and gold strings are used for this purpose.

Another pair of simple Mecho and Ocho butterflies is shown by Dominique
Buisson on page 23 of his "Manuel pratique d'origami", together with a sake
bottle and cover, but once more there are no folding instructions.

I turned to the most famous of all books of classic Japanese Origami,
"Kayaragusa", generally known in the West as "Kan no mado". A reproduction of
the accurate facsimile made for Professor Frederick Starr is contained in " A
Japanese Paper-folding Classic" by Julia and Martin Brossman (1961). The two
butterflies are shown on page 3. They are somewhat more elaborate than those
shown by Eric Kenneway and Isao Honda and they have elaborate mizuhiki knots.
Two pairs are shown and the first pair  are clearly made from alternate
mountain and valley creases radiating round the centre of the paper. However,
the second pair are made differently. Instead of beginning with a diagonal
crease from corner to corner,  the "diagonal" crease is made some way from
the centre of the paper, so that the edges of the folded paper do not
coincide This makes for a more decorative butterfly, which would be very
attractive if the paper used was of different colours on each side. As I
understand it, however, when Kayaragusa was compiled, only white paper was
used for ceremonial folding, or for that matter for any sort of origami. The
Brossmans state that the butterflies illustrated in Kayaragusa are according
to the Ogasawara school of etiquette, which is the style often used by most
of the Japanese people, except for the aristocracy, who followed the Ise
School being the school of etiquette favoured by the Imperial family.

Kayaraguse gives folding diagrams and instructions for every other model in
the book, but not for the Mecho and Ocho Butterflies. It sometimes seems that
there is a taboo against instructions for the Mecho and Ocho Butterflies!.
However, on page 7, instructions are given for two kinds of wrappers
(tsutsumi) for pepper. And very curiously, the resulting folds closely
resemble Mecho and Ocho butterflies! As with the butterflies, the mountain
and valley creases for the pepper wrappers radiate from the centre of the
paper.

In "Papiers Japonais", Francoise Pireau reproduces an old Japanese
illustration of a somewhat looser-folded pair of butterflies on page 105. On
page 120, she shows a print of two ladies engaged in the tea ceremony in
which the  same butterflies are used to decorate a kettle and another
container. On the same page she give a drawing of the front and back of
another very simple butterfly tied with mizuhiki string.

The most elaborate Mecho and Ocho Butterflies that I have found so far are on
pages 64 and 65 of Dominique Buisson's "The Art of Japanese Paper" They are
folded from paper which is red on one side and white on the other and with a
gold border. The mizuhiki strings are elaborately knotted. The Mecho
butterfly has a crane attached woven out of white mizuhiki string, while the
Ocho butterfly has a tortoise woven from golden string. Both the crane and
the tortoise symbolise long life. These elaborate butterflies are not,
however, attached to sake bottles, but decorate substantial wooden sake
casks. Buisson does not give any directions for folding the butterflies he
illustrates.

I have left until last the one book in which instructions are given for the
folding of Mecho and Ocho Butterflies. This is "Wrapping Origami" by
Yoshihide Momotani, published in 1993 by Seibundo Shinkosha  (ISBN
4-416-89320-5) and probably still in print. It is a fascinating book of
Japanese tsutsumi (wrappers), both formal, informal and utilitarian and it
deserves to be known much better than it is The book is written Japanese, but
headings and names of folds are given in English, and the diagrams are
crystal clear, so that is remains accessible for people who do not read
Japanese. As Yoshihide Momotani has pointed out elsewhere, the Mecho and Ocho
Butterflies are not wrappers. They are decorations, but they are so closely
associated with formal wrappers that he includes them in his book on pages
110 to 113, under the heading of "Classical Papilionaceous Noshi". He gives
instructions for three different pairs of male and female butterflies, one
pair of which he describes as "formal" and the other as "regular". The third
pair is from Kayaragusa, but he folds from paper having a red border. He
illustrates how one of the male butterflies may be decorated with mizuhiki
strings, but he does not give any instructions about how to do this.

Momotani does not mention the sake bottle covers. This is surprising, because
I have discussed the matter with him and I know that he is well aware of the
possibility that this is the origin of the Mecho and Ocho Butterflies.

I have not said anything about the symbolism of the butterflies or their
association with the traditional Japanese marriage ceremony. That will have
to wait until another time. But I hope that this note will have helped to put
the Mecho and Ocho Butterflies into some sort of perspective and that it has
also  pointed to one place where interactions for folding them may be found.

David Lister.

Grimsby, England.

DLister891@AOL.com





From: Robby/Laura <morassi@ZEN.IT>
Date: Sun, 01 Aug 1999 12:39:56 +0200
Subject: Re: NO: Re: accents

Scott,
At 12.11 30/7/1999 -0400, you wrote:

> Is it another of Great Britain's
>fine contributions to the culinary arts, such as eel pie or spotted dick

Far from me any idea of going into the intricacies of British cooking art,
but the "spotted dick" sounds like a mistery. The dictionary is not
helpful, and common jargon suggests something that is not usually cooked
nor served for lunch.....
Calling for a New Yorker's opinion !

Roberto
