




From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 16 Aug 1999
Subject: Re: pegasus, help

David wrote:
><< s is a funny thing, I don't have trouble with any of the folds because
> they're not difficult, but there are so many that by the time I get to the
> last stages of folding the model the paper (typewriter paper=my default)

Oh, I bet we're all familiar with this problem! Here's a few things you can do
about it.

Material:
-Use larger paper
-Use stronger paper, and a better quality of paper. And experiment with
different kinds of paper. Typewriter paper is really the cheapest paper
around, it's usually some cheap fiber mass with lots of additives.

Technique:
-Don't make the creases too sharp, because that's where you really weaken the
paper. Instead, make them as soft as possible, and only if you really need
them.
-Be precise: You weaken the paper if you take several tries before the crease
is in the right place. And if you're not precise from the beginning, the paper
will get weakened when you have to pull and push and mangle the paper in your
attempts to 'fix' the errors you made earlier on.
-Don't be too precise: The more layers you have to fold, the more the paper
will shift about. You can compensate for this in the early stages by NOT being
too precise, e.g. by NOT folding exactly to the main crease. Contradictory, eh
;-).
-Fold the model several times, and pay extra attention to those parts that
tend to tear. I noticed in my origami classes that even the simple models have
their weak spots where the paper is under a lot of stress.

Matthias 'ripped again!' Gutfeldt





From: Doug Philips <dwp@TRANSARC.COM>
Date: 16 Aug 1999
Subject: Re: Origami Books: What do you look for

Christopher Holt, describing his likes and dislikes in origami books, indited:

>... I hate diagrams that show a tiny fold with an
> arrow pointing to it in, say, step 93, then show virtually the same thing in
> step 94, with no instruction on just what the heck is going on.

Agreed. There are two diagramming techniques for handling that which I like.
The best is when that area of the model is enlarged for better visibility.
Almost as good is something I've so far only seen in Japanese publications,
which is to leave the diagram unenlarged, but for creases which are very
short, have a separate line segment which is either a valley crease segment or
a mountain crease segment. The short fold and the clarifying line segment are
connected with a very thin line, so you know which applies to which.

> is if I personally see successfully folded projects from the book. Finally;
> diagrams that don't give too many unrelated steps in one folding
> instruction. It's annoying to get one illustration that shows head
> formation, body shaping, foot arrangement, and who knows what in the same
> step.

Here I have to disagree, with a caveat. So long as the "unrelated steps" don't
interact with each other, I'd prefer to see them in one step rather than in
many separate steps. Similarly, whether in one step or many, any diagrams
where the creases are shaping the model and that step is combined with a "turn
over" so that you can't see the results of your shaping effort... Oi that
boils my blood!

-D'gou





From: Carmine Di Chiara <carmine_dichiara@YAHOO.COM>
Date: 16 Aug 1999
Subject: Re: actual origami--> Kawahata's pegasus and templates

David,

I use a template for Kawasaki's New Rose, to avoid the
grid in the final product. I trace the folds on a
piece of vellum paper which transfers them to a paper
below it.

Regards,

Carmine

===
-------
Carmine Di Chiara
carmine_dichiara@yahoo.com
        Beyond each corner new directions lie in wait.
                - Stanislaw Lec
_________________________________________________________
Do You Yahoo!?
Get your free @yahoo.com address at http://mail.yahoo.com





From: Maria Conchita Gomez-Montoya <DosRiosRh@AOL.COM>
Date: 16 Aug 1999
Subject: FuRUTI Posting: Was: RE: Origami Books: What do you look for

In a previous posting, Ronald Koh asks:
  >>2)      What do you not like to see/find in an origami book which could
 >>dissuade you from buying it, or from buying the next book by the same
 >>author (i.e. after having bought the first book)?

Carlos Furuti ejaculates:

 sloppy diagramming (O. Monsters, HtMOAtF), poor photography (O.Monsters),
 plagiarism (anything by Ayture-Scheele [sp?]), models lacking elegance
 (Creating O., Wild O.), sloppy text (Creating O., Prehistoric O. 1st ed.),
 excess form over content (anything by A-S, Fantastic Folds, Wild O.),
 overreliance on paper decoration (Fantastic Folds, Xuxa where R U?).
    >>

Hola,

My name es Maria.  I am cousin of Fernando Gilgado Gomez.  I do not think
what you say is true or nice about monsters book.  Fernando work very hard
and many horas to make.  He publish.  We are so proud of Fernando for this. I
think you hurt him with you words.  You bad man. I like very much the book.
May the funny letters at the end of you name cause much trouble.  Please do
not buy more of Fernandos books... you do not deserve.

I fold paper.  I like the books you say no are good.  Stoker/Williamson book
Fantastic Fold es nice.  Also, Nolan book Creating Origami has much
interesting words and models.

You make words of plagiarism?? I hope you have fine lawyer.

I hope words of Carlos no are taken truthful.  Pobrecito Carlos will buy no
more books from Gomez, Tuyen, Nolan, Montroll, Stoker??? So sad for him.

De mi corazon,

Maria Conchita Gomez-Montoya





From: Christopher Holt <Ella-mae@EMAIL.MSN.COM>
Date: 16 Aug 1999
Subject: Re: Graying paper: Suggestions?

----- Original Message -----
From: Jorma Oksanen <tenu@SCI.FI

>Well, I didn't find big enough dark blue paper
> either, but I taped two 70*100cm sheets together to get a one-meter
> square.

trying seeking out some photogaphic backdrop paper. It's fairly huge, but
it's better to cut than to tape, at least in my book.

All the best - c!!!
everyone accepts "the illusion of reality", but you're crazy if you talk of
"the reality of illusion"
ella-mae@msn.com





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: 16 Aug 1999
Subject: Minatures

I have a small collection of tweezers for doing minatures. My favorites are
a $30 pair  for high tech electronic work that a friend liberated from a
company that he was leaving. They have a very thin but hard point. I have
some other thin points that bend under pressure and I have to reform them
-arg! Xacto makes a set of tweezers that are reasonablely priced. The points
are somewhat thicker than my favorites.

As to paper, I prefer the Japanese foil. It is significantly thinner than
American foil and perfect for minatures. However, for larger models, it does
not have the body to stand up well. I will dye the back of the paper with
sponges and paint. In some cases, I have used spray glue from the hardware
store to mount tissue paper.

Hope this helps.

Mark





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: 16 Aug 1999
Subject: Odd subdivisions

The best trick that I learned for odd subdivisions came from a David Brill
book (I think - I have been crediting him with the technique). Take some
lined paper and place it  diagonally across the paper starting at the lower
Left (or right depending on your political preference) corner as a pivot
point. by counting the lines from corner to right hand edges and adjusting
the angle you can divide into 5th, 6th, 7th,.... by marking the division
points. You can uses strips of graph paper but you may have to count five
units  or more fro the subdivisions. For larger peice if paper I have used
the one inch squares from flip chart papers. Also on note that the boxes
that the flip charts come in are good for storing large sheets of paper. I
try to snag them at the office before the cleaning staff disposes of them

I hope this is clear enough to follow - this is ussually something that I
would show someone.

Mark Kennedy





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 16 Aug 1999
Subject: actual origami

Thoki,
Is the Fujimoto method for folding thirds and fifths the one on your homepage
     under 'uneven division', or is it another one?

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: Dave Stephenson <EruditusD@AOL.COM>
Date: 16 Aug 1999
Subject: Re: Origami Books: What do you look for

In a message dated 16/08/99 17:12:30 GMT Daylight Time, ronkoh@SINGNET.COM.SG
writes:

<< 1)      What do you look or hope for in an origami book which makes you
want
<<          to buy it?

Lots of interesting models, with at least one or two that look really good
but can be folded in a few minuets, i.e Montroll's rabbit from chinese
zodiac. Oh and actually being available in a bookshop is a big plus too :)

<< 2)      What do you not like to see/find in an origami book which could
<< dissuade you from buying it, or from buying the next book by the same
<< author (i.e. after having bought the first book)?

i) Gross inaccuracies in the folding instructions.
ii) Cutting the square of paper at any point and claiming to be an origami
book.
iii) Theres a real cheap shot waiting here for things would not like to see
in an origami book I wonder whose going to be the first to take it.

***************************************
* Eruditus Has Left The Building *
***************************************
p.s How long before the above becomes a category on family fortunes.
n.b I really should start folding more models from other folders :) )





From: "Jerry D. Harris" <LOKICORP@COMPUSERVE.COM>
Date: 16 Aug 1999
Subject: Minatures

Message text written by Origami List
>I have a small collection of tweezers for doing minatures. My favorites
are
a $30 pair  for high tech electronic work that a friend liberated from a
company that he was leaving. They have a very thin but hard point. I have
some other thin points that bend under pressure and I have to reform them
-arg! Xacto makes a set of tweezers that are reasonablely priced. The
points
are somewhat thicker than my favorites.<

        For the biggest selection of tweezers I've personally ever seen,
try a company called Techni-tool.  Their print catalog has several pages of
different kinds; a slightly smaller (looking) selection is shown in their
on-line catalog at:

http://www.techni-tool.com/indexnew1.html

...and then click on "Tweezers" in the table of contents in the lower left.

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

 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: Dave Stephenson <EruditusD@AOL.COM>
Date: 16 Aug 1999
Subject: Re: ST ND RD TH...

In a message dated 16/08/99 13:00:41 GMT Daylight Time, rslevy@UTMB.EDU
writes:

<< Several years back I developed a series of diagrams for all odd divisions
 between 1 and 19 which was published in a supplement to the Origami USA
 annual collection. If you nudge me real hard I can tell you the exact name
 and year of the publication. The methods are very neat with no more than 3
 or 4 creases needed to make any division. >>

Please.... pretty please...

***************************************
* Eruditus Has Left The Building *





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 16 Aug 1999
Subject: Origami books: What I look for

Sine qua non:

- if the book has a general theme, then it's got to be one which interests
     me...obviously.
- clean, clear diagrams and a logical sequence so I can understand how to fold
     the model even when the book is written in Japanese.
- folds with an original interpretation of the subject and/or a knacky folding
     process

Preference:

- varied models rather than variations on one subject.

Helps in deciding (but not indispensable):

- beautiful colour photographs of the models
- when the book is in Japanese: english titles/subtitles and a minimum of text
     in Japanese.

Irritating (but does not necessarily stop me from buying if other criteria are
     good):

- photographs of fine models for which the book contains no diagrams
- interesting models without credits

What I definitely leave on the bookshop shelf:

- 'Deja-vu': Origami books containing too many familiar models, too few new ones
- 'Kindergarten-teacher Origami books' with the same old selection of simple
     folds as half-a-dozen other titles on the same shelf
...no matter how beautifully presented.

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 16 Aug 1999
Subject: Re: Origami Books: What do you look for

Complex model is a +, but we all know that Ronald has those.  What I find
importance is the actual folding sequence: are the steps logical building
to the result with small steps that are easy to use?  That is why I like
Lang, Montroll and Kawahata so much is that not only are the models fun to
fold but by looking at the diagrams you can figure out, with patience, the
importance of every fold.  When you understand the model it heightens the
folding experience.  As for the diagrams themselves, I think that
Montroll's are the clearest I've seen in showing detail, mimicking his way
is not a bad idea.  Labelling important points for landmarks I always
appreciate, and like Montroll showing where the points are mapped to (oops,
too much math).  Something that I think is very important and can be
frustrating is folds in hidden layers: they absolutely need to be shown.
The X-ray technique that I've seen in Lang diagrams is good for that.  As
for photos: color is good folded out of neat paper, I think the best
example of a good book with nice photos in the front that show off the
models, is Origami Fantasy in my opinion.  The cover shouldn't be some kind
of Dover computer generated art work that looks lame, I'm tired of seeing
images of folded paper instead of photos of folded models.  A good photo on
the cover of the best model or the most photogenic one would really wet the
customer's appetite.

Oh yeah: please no messed up collapses that you have to invert a bunch of
creases to work, I bet that most of the time there is an easier folding
sequence and the creator just didn't find it.  A plus though is a collapse
where you have to invert a few or no creases, those are very fun.  Don't
take the average origami freak for granted, I can and I bet most people can
tell when a collapse uses creases you have to invert or not based on the
steps before it, just by looking at them in the store.

A very good idea::::::  ========> Engel had a very interesting beginning to
the book that made his book more than most books, Angelfish to Zen is a
very special book to me thanks to his insight, philosophy, the connection
between different disciplines and origami and his interesting anecdote
about his trip to visit Yoshizawa.  More books should have brain food like
that.

To Ronald: I have faith in you that you'll write a brilliant book, I can't
wait to buy it when it's published, which I'm sure it will.

Sincerely,

David





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: 16 Aug 1999
Subject: Origami Challenge

I'd like to issue a fun challenge to our artists, engineers, musicians
and tinkerers.  How about designing some musical instruments that play
(flutes and percussion) so I can have a little origami symphonette in my
next show.

Dorothy





From: Julia Palffy <jupalffy@BLUEWIN.CH>
Date: 16 Aug 1999
Subject: Re: Folding Miniature Models (NO)

Exactly!

Julia Palffy
Zug, Switzerland
jupalffy@bluewin.ch





From: "James M. Sakoda" <James_Sakoda@BROWN.EDU>
Date: 16 Aug 1999
Subject: Re: pegasus, help

>This is a funny thing, I don't have trouble with any of the folds because
>they're not difficult, but there are so many that by the time I get to the
>last stages of folding the model the paper (typewriter paper=my default)
>the paper is for lack of a better word tired.  Small tears start to form
>and the paper starts to become unmanagable and creases start turning into
>wrinkles (especially the head and mane).  I don't know if anyone else has
>had this problem, but if they have had and resolved it, and it doesn't have
>to be with the pegasus model it can be with any model please reply.  As
>those of you that have Origami Fantasy know the model has 137 steps, and
>the total number of steps is 164.  Since I know many of you have folded
>complex models I assume that some of you can get bad results from time to
>time and have found ways around it.
>
>David

David, I have been experimenting with folding 2.5 inch foil paper, using
figures from my Modern Origami book (reprinted recently by Dover
Publicatgions).  Using foil paper (American foil in pastel shades sold by
OrigamiUJSA. eases the problem of having bends remain bent and the paper
not tearing.  Modern origami figures frequently are based on crease lines
laid down by first folding the eight point star, and then keeping the
figures relaively free of unnecessary details and consisting mostlyh of
straight lines, giving it a modernistic appearance.  There is a pegasus in
the book, which is one of the easiest figures to fold, and you might
compare folding that with the one requirng hundreds of steps.  James M.
Sakoda.





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 16 Aug 1999
Subject: Re: Jackstone

>On Mon, 16 Aug 1999, Nick Robinson wrote:
>
>> He meant the "Jackstone", (a stellated cube in Harbin's "Origami 2") - a
>> remarkable tour-de-force from the late Jack Skillman. When I joined the
>> BOS, there was an unwritten tenet that until you'd made this design, you
>> couldn't really call yourself a proper paper-folder. Nonsense, I know,
>> but I was soooo satisfied when I finally made it. The main problem I
>> found was the "collapse" diagram has a few subtle errors.
>
>I always found these diagrams to be difficult to follow, rather like those
>illusions of the old lady which is also a young lady, or the pictures of
>the cubes that can pop in and out of the page. I would see lines defining
>separate flaps rather than just representing old creases, or I wouldn't be
>holding the model at the right angle etc. Finally a friend showed me the
>light with a practical demonstration, and since then the diagrams make
>(almost)perfect sense!
>
>re: Clare's story of the Jackstone
>This same friend told me of a friend he had, who knew of little to no
>origami, but this friend could fold the jackstone from memory. Maybe we
>have the start of the first origami Urban Myth!! ;}
>
>regards all
>Michael

I remember several years ago when I checked out the book that had the
jackstone in it.  I could fold any model in that book but that one.  I
would always either get stuck on the collapse or close to their.  I'll have
to try to look at it again someday.

David





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 16 Aug 1999
Subject: Re: pegasus, help

>David wrote:
>><< s is a funny thing, I don't have trouble with any of the folds because
>> they're not difficult, but there are so many that by the time I get to the
>> last stages of folding the model the paper (typewriter paper=my default)
>
>Oh, I bet we're all familiar with this problem! Here's a few things you can do
>about it.
>
>Material:
>-Use larger paper
>-Use stronger paper, and a better quality of paper. And experiment with
>different kinds of paper. Typewriter paper is really the cheapest paper
>around, it's usually some cheap fiber mass with lots of additives.
>
>Technique:
>-Don't make the creases too sharp, because that's where you really weaken the
>paper. Instead, make them as soft as possible, and only if you really need
>them.
>-Be precise: You weaken the paper if you take several tries before the crease
>is in the right place. And if you're not precise from the beginning, the paper
>will get weakened when you have to pull and push and mangle the paper in your
>attempts to 'fix' the errors you made earlier on.
>-Don't be too precise: The more layers you have to fold, the more the paper
>will shift about. You can compensate for this in the early stages by NOT being
>too precise, e.g. by NOT folding exactly to the main crease. Contradictory, eh
>;-).
>-Fold the model several times, and pay extra attention to those parts that
>tend to tear. I noticed in my origami classes that even the simple models have
>their weak spots where the paper is under a lot of stress.
>
>
>Matthias 'ripped again!' Gutfeldt

Thanks, you sure sound like you've had the same experience that I have,
perhaps many times.

David





From: Valerie Vann <valerie_vann@COMPUSERVE.COM>
Date: 16 Aug 1999
Subject: Divisions of an edge

A search of the archives will reveal that
there has been considerable discussion in the past traffic
of the mail list about dividing the edge of the paper
in 3rds, 5ths, etc. etc.

I suspect Robert Lang was at ORCA, but he may pick up on
the thread anyway, because some time last year he presented
here a theory & method for obtaining any divisions with the
fewest possible marks or folds. That will be found in the
archive also, and the mathematically inclined may want to
check it out before re-inventing the wheel.

I find Lang's discussions and other methods for doing
divisions with the sheet one is going to fold interesting
mathematically and theoretically, but don't use them in
practice when making boxes and modulars as they all leave
unnecessary marks and some are so complicated that errors
are introduced.

My own favorite practical method is the engineer/architect's trick
of laying the edge across a set of evenly spaced parallel lines.
In day to day work I use a lightweight cutting board ruled in
inch squares for the "parallel lines", but in the field, a piece
of ruled notebook paper will do the job, or since one seldom
needs more than 7 divisions (ninths are obtainable from 3rds, etc.),
I just fold another spare sheet of similar size into 8ths.

This has the added attraction that you only have to mark your
good paper with the divisions you actually need, and there are
-NO- unnecessary marks or creases.

Valerie Vann





From: "James M. Sakoda" <James_Sakoda@BROWN.EDU>
Date: 16 Aug 1999
Subject: Re: Fold for a nice CD envelope?

>At 02:39 AM 8/14/99 GMT, you wrote:
>>Has anyone come up with a nice fold for making a CD envelope?  I know I can
>>just cut one out in a single piece and glue it, but something artistic I
>>can whip up out of a piece of 8.5 x 11 paper without having to cut it would
>>be nice.
    J. Blackman:   Here's a quick answer based on my paper pouch for five
inch folding paper.  Take 8.5 x 11 inch paper and fold five inches of the
bottom edge to one inch of the upper edge.  Fold in 1.5 inches of both
sides, leaving 5 inches between them.  Tuck under the lower corners of both
edges at a 45 degree angle.  At the upper end Tuck in the front part of the
upper edges of the folded units down into the inside of the envelop as far
as it will go.  Allow the top upper edge to be carried along  as far as
necessary.  Put in the CD and fold over the upper edge. Or for more
security tuck in on top of the CD inside of the envelop.  James M. Sakoda





From: Ronald Koh <ronkoh@SINGNET.COM.SG>
Date: 17 Aug 1999
Subject: Origami Books: What do you look for

I believe all budding authors of origami books would be interested to
know your views on the following:

1)      What do you look or hope for in an origami book which makes you want
to buy it?

2)      What do you not like to see/find in an origami book which could
dissuade you from buying it, or from buying the next book by the same
author (i.e. after having bought the first book)?





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 Aug 1999
Subject: Re: PCOC

>Hello all!
>    Well, I just got back from ORCA, which was very very nice. Lots of fun in
>a relaxing and laid back atmosphere (added to the fact that, instead of
>taking the official "classes," I learned most models between midnight and 4am
>from roommates :)
>    I heard that there will be another PCOC convention next March. Does
>anyone have more information on this? I suppose details may still be
>uncertain, but is it to be in San Francisco again, or it moving anywhere?
>Thanks very much for any information.
>
>David Chow

Come on!  Tell us more about ORCA!!  More than just 'very nice.'

David





From: Vicky Avery <vavery@WENET.NET>
Date: 17 Aug 1999
Subject: Re: PCOC

Hi -

The Pacific Coast Origami Conference (nicknamed Peacock for the initials of
PCOC) will be held in San Francisco on March 18 & 19, 2000.  We are very excited
about the new location - the Cathedral Hill Hotel on Van Ness & Geary, just 4
blocks away from the heart of Japantown.  This hotel offers an exceptional space
for our second conference.

PCOC will be patterned after the OrigamiUSA's annual convention in New York,
although you do not need to be an OrigamiUSA member to attend.  We will of
course have special perks if you are an OrigamiUSA member!

Being planned are classes for all skill levels and interests, late night folding
sessions, a first-class public exhibition, a Saturday night extravaganza, and
much more.

Our next planning meeting is coming up on Aug 29, and we will have more
announcements then.  All OrigamiUSA members will receive a registration form in
the mail.   If you are not a member and wish to receive a registration form in
the mail, you will be able to request one from our soon-to-be-launched website
www.ifold.org (the website will be up soon!) or privately email me.

Thanks!

Vicky Mihara Avery
vavery@wenet.net

David Chow wrote:

> Hello all!
>     Well, I just got back from ORCA, which was very very nice. Lots of fun in
> a relaxing and laid back atmosphere (added to the fact that, instead of
> taking the official "classes," I learned most models between midnight and 4am
> from roommates :)
>     I heard that there will be another PCOC convention next March. Does
> anyone have more information on this? I suppose details may still be
> uncertain, but is it to be in San Francisco again, or it moving anywhere?
> Thanks very much for any information.
>
> David Chow





From: Vicky Avery <vavery@WENET.NET>
Date: 17 Aug 1999
Subject: PCOC Guest - KASAHARA

We are very pleased to announce that Kunihiko Kasahara will be our
special guest at the Pacific Coast Origami Conference - San Francisco,
March 18 & 19, 2000.

Kasahara has over 130 books to his credit (does anyone here not have at
least one?)  This will be his first visit to the West Coast.

Stay tuned for more exciting developments.

join the fold...
Vicky Mihara Avery

www.ifold.org  (launching soon)





From: Jorma Oksanen <tenu@SCI.FI>
Date: 17 Aug 1999
Subject: CD case

I can't remember who asked for a CD case, but after a bit of folding I
came up with a double-CD case from an A4 sheet.  Diagrams (which took
a lot more time than folding) should soon be on my page at

http://www.sci.fi/~tenu/origami.html

It ain't perfect, but is anything?

--
Jorma Oksanen   tenu@sci.fi

Weyland-Yutani - Building Better Worlds





From: Alex Barber <barber@THE-VILLAGE.COM>
Date: 17 Aug 1999
Subject: Re: T-Rex Model

>Just to give an idea of teeth size of the Kawahata model, I used a 12.5
>inch tissue foil sheet, and my teeth were about 2mm long.
>
>Michael Janssen-Gibson                 e-mail: mig@isd.canberra.edu.au

The Kawahata model looks particularly hungry if you fold it from a larger
sheet. I folded a model from a 20" sheet of some Fascinating Folds stock,
and ended up with something 16" long. The teeth are a quarter-inch at that
point -  a beastie suitable for eating a Kawahata triceratops (if you
survive all the pleats).

Alex Barber
barber@the-village.com | http://www.the-village.com





From: David Chow <Davegchow@AOL.COM>
Date: 17 Aug 1999
Subject: PCOC

Hello all!
    Well, I just got back from ORCA, which was very very nice. Lots of fun in
a relaxing and laid back atmosphere (added to the fact that, instead of
taking the official "classes," I learned most models between midnight and 4am
from roommates :)
    I heard that there will be another PCOC convention next March. Does
anyone have more information on this? I suppose details may still be
uncertain, but is it to be in San Francisco again, or it moving anywhere?
Thanks very much for any information.

David Chow





From: Phil and Amy <sgt.schulz@WORLDNET.ATT.NET>
Date: 17 Aug 1999
Subject: [NO] Matrix Trilogy

>
>Has anybody heard the rumors that the Matrix is just the first part of a
>trilogy?
>
>David

I've heard that also, although one of my sources says that they will be a
separate storyline. (i.e. not a sequel, but in the same universe with
different characters)  The other half of my sources says that they will be
sequels (i.e. with Keanu Reeves and Lawrence Fishbourne)  Neither of them
are really what you call 'in the know', so I guess we'll just have to see if
the rumors are true.

A rumor I DON'T want to come true is that The Matrix will be released only
on DVD, not on videotape.  >:-(

Phil

sgt.schulz@worldnet.att.net
 Origami Star Wars at:
http://home.att.net/~sgt.schulz/





From: Dave Stephenson <EruditusD@AOL.COM>
Date: 17 Aug 1999
Subject: Re: Not an origami book (was RE: Origami Books: What do you look for)

In a message dated 17/08/99 09:58:52 GMT Daylight Time, tanjit@BBOXBBS.CH
writes:

<< Dave Stephenson wrote:
<<ii) Cutting the square of paper at any point and claiming to be an origami
<<book
Matthias 'cut it out' Gutfeldt wrote
<<So... Creative Origami by Kasahara is not an origami book? Origami Omnibus
<<(also by Kasahara) is not an origami book? Brilliant Origami by Dave Brill
is
<<not an origami book? What a nasty surprise. I'll throw those books out
<<immediately!

Absolutely, nice to see someone else takes my point of view, im sorry but
cutting the square is out and out cheating, theres always a way round you
just have to find it.

***************************************
* Eruditus Has Left The Building *





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 17 Aug 1999
Subject: Re: FuRUTI Posting: Was: RE: Origami Books: What do you look for

>===== Original Message From Origami List <ORIGAMI@MITVMA.MIT.EDU> =====
>You make words of plagiarism?? I hope you have fine lawyer.

A. Scheel-Zuelal is, indeed, quilty of plagiarism. I own several of her books
(I didn't buy them! Somebody gave them to me as an x-mas present). Many models
are either traditional or by other authors; specifically, she has used many
models that have appeared in Creative Origami by Kasahara. But she never gives
any credit!

What's worse, at the end of her books there usually is a statement that these
diagrams and models are the property of A. Scheel-Zuelal and may not be used
commercially without her consent.

Matthias





From: Doug Philips <dwp@TRANSARC.COM>
Date: 17 Aug 1999
Subject: Re: Not an origami book (was RE: Origami Books: What do you look for)

Dave Stephenson indited:

+Absolutely, nice to see someone else takes my point of view, im sorry but
+cutting the square is out and out cheating, theres always a way round you
+just have to find it.

You are correct, it is a point of view. And a recent one at that, as it
has no support from the long history of origami. How easy it would be
to presume that the origami tradition was filled with folders too dumb
to figure out how to avoid cuts. How much more truthful that they merely
didn't care for that tiny little purist box many have now drawn around
that aspect of themselves which folds and/or designs origami.

"Cheating" depends only what you are trying to achieve and why. As
always, there are no origami police. "Failure to cut" too often leads
to models that are thick and bulky in places where the subject of the
model is not. You choose rejection-of-cutting over
trueness-of-final-form, but they are just both different forms of
beauty and neither is better than the other.

-Daddy-o "Not sorry, nor cheating, nor inclusive of any old thing which
          wishes to call itself origami but isn't, nor vice versa ..."
 D'gou





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: 17 Aug 1999
Subject: baked rats.....

Jorma Oksanen <tenu@SCI.FI> sez

>I did bake a Joisel's rat folded from Canson watercolor paper.

This is too disgusting for words! I use loose rubber bands to hold
things in place, then leave it on top of the computer monitor while I
work, checking now & again to see how it's cooking....

all the best,

Nick Robinson

email           nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - now featuring soda syphons!
BOS homepage    http://www.rpmrecords.co.uk/bos/





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: 17 Aug 1999
Subject: Ayture....

Matthias Gutfeldt <tanjit@BBOXBBS.CH> sez

>A. Scheel-Zuelal is, indeed, quilty of plagiarism.

True, but she is by far the most attractive origami author I have ever
met, myself excluded. Messrs Montroll, Lang, Brill & Jackson - the truth
certainly hurts.

I did want to raise the plagiarism issue, honest, but she was so
pleasant and, err, attractive, I didn't have the b***s to do so. Having
seen some of my folds, She asked for the address of a supplier of Canson
paper, which always impresses me in a woman.

Nick "chance to right wrongs missed" Robinson

email           nick@cheesypeas.demon.co.uk
homepage        http://www.cheesypeas.demon.co.uk - now featuring soda syphons!
BOS homepage    http://www.rpmrecords.co.uk/bos/





From: "Chamberlain, Clare" <Clare.Chamberlain@HEALTH.WA.GOV.AU>
Date: 17 Aug 1999
Subject: Re: Origami Books: What do you look for

MY pet hate is imperial measures, especially fraction so f an inch - the
majority of the world uses metric, and it is almost impossible to buy
measures with inches in a country such as Japan.

Just a word of warning regarding origami at exhibitions - some years ago I
was invited to display origami at the Art Gallery of Western Australia to
coincide with a Brett Whhitely exhibition (contemporary Aussie painter,
heroin addict and now deceased) -but so many parent used me as a child
minding service - so before agreeing to put on such displays, ensure the
organisers don't let this happen.  (Before you ask, people let their kids
wander over to watch me fold, then just walked off for half an hour - no
word to me.)

Clare - who dares to fold for fun!!





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 17 Aug 1999
Subject: Re: Not an origami book (was RE: Origami Books: What do you look for)

On cutting: I don't cut myself, but sometimes hey, it just might be worth
it.  There are no rules here, no one's going to come into your home and
point a gun at your head and say "Hah, I caught you cutting, the penalty is
death as proclaimed by law!"  Take Kawasaki's Murex, the 3d look to even
the little spiky things certainly would be enough to say alright that
example of cutting in Origami for the Conn. is alright, I'll buy the book.
I doubt that many people on this list would not buy the book to miss out on
such a treasure chest of folds just because that model had a cut in it.
But there are some books that blantasy use cuts, they don't look for ways
without the cuts.  I won't buy those kinds of books, but still hey what's
wrong with that?  There are people in the world that will because they
don't want to deal with folding complex animals without cutting the paper,
which is alright and there's nothing wrong with that.  To give an example,
I have a friend that uses glue, paper and scissors to make things he likes
when he told me this I imagined something icky with glue seeping out and
little cuts all over the paper.  What he made was this wonderful 3d star
whose paper seemlessy came together, I was impressed.

Origami can not be an art if we can't even dare to break our little
conventions, don't get boughed down in the details just let your mind sour
free with the paper!

David





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 17 Aug 1999
Subject: Re: pegasus, help

David wrote:
>Thanks, you sure sound like you've had the same experience that I have,
>perhaps many times.

Join the 'Origami Rippers Club'! Today membership is FREE! Just send in your
credit card information...

Matthias 'ripped off' Gutfeldt





From: Carlos Alberto Furuti <furuti@AHAND.UNICAMP.BR>
Date: 17 Aug 1999
Subject: My mistake (was Re: FuRUTI Posting)

>>From: Maria Conchita Gomez-Montoya <DosRiosRh@AOL.COM>
>>
>>Carlos Furuti ejaculates:
>>
>> sloppy diagramming (O. Monsters, HtMOAtF), poor photography (O.Monsters),
...
>> overreliance on paper decoration (Fantastic Folds, Xuxa where R U?).
>>    >>
>>
>>My name es Maria.  I am cousin of Fernando Gilgado Gomez.  I do not think

Isn't "Xuxa" a nickname for "Maria"?

OOPS - SORRY. I'm at fault here. I have never seen (I'd like very much to)
Gomez's latest book, and I had completely forgotten its title when I first
replied to Ronald.  For "O. Monsters" I meant *J.Ansill*'s book,
entitled either "O.Monsters" or "Mythical Beings -- O.Monsters",
depending on which side of the Atlantic your copy was published.

Apologies to the whole list for any confusion I can have caused.

>>I hope words of Carlos no are taken truthful.  Pobrecito Carlos will buy no
>>more books from Gomez, Tuyen, Nolan, Montroll, Stoker??? So sad for him.
I actually never meant I'd _not_ buy or appreciate everything from those
authors --- I'm ready to defend my viewpoint and I only hope criticism
leads to better works in the future.

        Sincerely,
                Carlos
        furuti@ahand.unicamp.br www.ahand.unicamp.br/~furuti





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 17 Aug 1999
Subject: Not an origami book (was RE: Origami Books: What do you look for)

Dave Stephenson wrote:
>ii) Cutting the square of paper at any point and claiming to be an origami
>book.
So... Creative Origami by Kasahara is not an origami book? Origami Omnibus
(also by Kasahara) is not an origami book? Brilliant Origami by Dave Brill is
not an origami book? What a nasty surprise. I'll throw those books out
immediately!

Matthias 'cut it out' Gutfeldt





From: Paul Jackson <Mpjackson@BTINTERNET.COM>
Date: 17 Aug 1999
Subject: Re: Origami Challenge

----- Original Message -----
From: Dorothy Engleman <FoldingCA@WEBTV.NET>
To: <ORIGAMI@MITVMA.MIT.EDU>
Sent: Tuesday, August 17, 1999 5:16 AM
Subject: Origami Challenge

> I'd like to issue a fun challenge to our artists, engineers,
musicians
> and tinkerers.  How about designing some musical instruments that
play
> (flutes and percussion) so I can have a little origami symphonette
in my
> next show.
>
> Dorothy

At infrequent intervals I revive my Paper Music performance piece, in
which all the sounds are made from paper or cardboard.  The last time
was at a workshop at the Third Southeastern Origami Festival, last
year, culminating in a short recorded (private) performance.
Charlotte 'Dance Central' have several times performed a dance piece
developed with me, in which they dance holding paper noise makers,
mostly percussive.

There are many ways to make percussive noise makers.  'Bangers' are
great, particularly if made in a variety of sizes and papers for a
range of timbres.  My 'Pecking Woodpecker' model can be adapted to
become an instrument.  The one crease business card jaws, differently
proportioned, can be adapted as a one-handed noise maker.  The
traditional 'Y' shaped noisemaker in which the arms of the 'Y' are
slapped together by being pulled very quickly between the first and
second fingers, is also good.

Noisemakers that make long sounds, rather than short percussive ones,
are more difficult in pure origami.  There's the well-known origami
model of a referee's whistle of recent Spanish origin, but it's not
too good in performance.   I use a flute made from  a rolled up tube
of paper, taped together so that it can't unroll, with a reed cut at
one end.  Other reeds can be made from waxed carton board, such as
milk or juice cartons.  They schreech gloriously, but again, they are
not pure origami.  There are various ways to make spinners that hum
beautifully when mic-ed up, and traditional bullroarers from cardboard
that sound great, but which are a bit dangerous in confined spaces.
Then there's blowing across the edge of a sheet of paper, as one blows
across a blade of grass.  Large sheets of mounting board sound great
when held vertically and gently wobbled. Smaller, thiner sheets work
too, even postcards, providing the grain runs horizontally.

You could also try rubbing sheets of paper together or pulling open a
roll of tape, both with contact mics, or hurling large cardboard tubes
broadside against a wall -- the sound is beautiful!

I've noticed that the best performances of Paper Music come from
trained musicians used to improvising, not necessarily from origami
experts or from one's friends.  The temptation is just to stand there
mindlessly making any noise at all, in the belief that one is 'being
ceative', but a pre-arranged structure and a keen awareness of what
the others are doing is helpful.  For larger ensembles, such as at the
SOF3 workshop, a conductor is a good idea.

Many of these ideas of mine are undocumented, so I hope you'll forgive
me if I am unable to provide diagrams.  Go play!

Paul Jackson





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 17 Aug 1999
Subject: Re: Ayture....

Nick Robinson opines:

>>A. Scheel-Zuelal is, indeed, guilty of plagiarism.

>True, but she is by far the most attractive origami author I have ever
>met, myself excluded. Messrs Montroll, Lang, Brill & Jackson - the truth
>certainly hurts.

    I understand that Lizzie Borden was a real babe, too...

Scott scram@landmarknet.net





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 17 Aug 1999
Subject: Re: CD case

Jorma Oksaken wrote:
>I can't remember who asked for a CD case, but after a bit of folding I
>came up with a double-CD case from an A4 sheet.  Diagrams (which took
>a lot more time than folding) should soon be on my page at

Ah, that's a nice one! It reminds me of the very simple A4letter fold I came
up with a while ago. It can be easily modified to serve as a CD case; just
make sure you don't put the CD into the wrong slot <g>. Diagrams at
http://www.bboxbbs.ch/home/tanjit/images/a4letter.gif

Matthias Gutfeldt





From: Joseph Wu <josephwu@ULTRANET.CA>
Date: 17 Aug 1999
Subject: Re: FuRUTI Posting: Was: RE: Origami Books: What do you look for

At 14:25 99/08/17 -0400, you wrote:
>I do not try to be funny, I defend name of my cousin. I am happy to I say
>what I want here. I speak from the heart.  I know what I think is normal to
>think.  Are you going to stop me?
>
>Screw you Joe Wu }:-)

Grow up. Stop you? If I have to. Say what you want. How about being brave
enough to use a real name?

----------------------------------------------------------------
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: Dave Mitchell <davemitchell@MIZUSHOBAI.FREESERVE.CO.UK>
Date: 17 Aug 1999
Subject: Origami Books: What do you look for

Preferences:

Personally I look for new ideas - something that hasn't been thought of or
about before. Has to be said though that these are pretty thin on the
ground.

It also seems to me that a book should be more than just a collection of
individual models - even more than a collection of themed models. It should
add something to our understanding of what origami is and how it can be
used.

Dislikes:

Well, pretty much what other people seem to like, I guess. Being spoon-fed
is a turn off. I positively like playing around to discover what size and
thickness of paper I need to use. It's also nice if the author leaves a few
loose ends lying around so that I can have fun following them up for myself.

Dave Mitchell





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 17 Aug 1999
Subject: Paper Museum

I've just come across a very nice site about washi,available in Japanese and
in English. It's the online version of the paper museum in Ino (Kochi
prefecture).
While the whole site is very nice, I think for origamists especially the links
at http://www.isei.or.jp/Paper_Museum/modern_culture.html are interesting:
washi in gift-giving, washi in decoration, and washi in festivals.

Matthias, wishy-washi





From: Michael Janssen-Gibson <mig@ISD.CANBERRA.EDU.AU>
Date: 17 Aug 1999
Subject: Re: Origami Books: What do you look for

On Tue, 17 Aug 1999, Ronald Koh wrote:

> 1)      What do you look or hope for in an origami book which makes you want
> to buy it?

Photos of finished products - I want to know someone actually folded the
model, and made it look as good as that final diagram.
Two-tone diagrams
Enlargements of areas as the detail increases
Sinks described as "open" or "closed", whether it seems obvoius or not.
Personal essays on the process of design, stories behind the design,
information about the model subjects (ie. animal/bird/fish info)

just a note on showing the result of a fold before turning the model over,
check out Tomoko Fuse's Mask book for an overkill (though not necessarily
a bad thing!), as each fold that puts paper behind the model (ie mountain
folds) is diagramed from both front and back views. The models are turned
over more often than my garden :}.

> 2)      What do you not like to see/find in an origami book which could
> dissuade you from buying it, or from buying the next book by the same
> author (i.e. after having bought the first book)?

Models that lack grace or style, or level of difficulty/length of folding
out-weighed the look of the finished product ie. complexity for the sake
of complexity. I would rather models were compound (more than one
sheet) and graceful, than single sheet and have misproportioned
legs/head/body etc. No point having a model that includes every leg, tine,
arm, whisker, hair of the actual animal, if I then have to stick it in a
darkened room and squint at it just to recognise what it is :}

regards
Michael

ps. you don't have to worry about any of this Ronald, as I have seen your
models in the Oriland gallery - they are beautiful, full of grace and life





From: Maria Conchita Gomez-Montoya <DosRiosRh@AOL.COM>
Date: 17 Aug 1999
Subject: Re: FuRUTI Posting: Was: RE: Origami Books: What do you look for

Maria writes:

<< >I hope words of Carlos no are taken truthful.  Pobrecito Carlos will buy
no
 >more books from Gomez, Tuyen, Nolan, Montroll, Stoker??? So sad for him.
 >
 >De mi corazon,

In a message dated 8/16/99 3:50:04 PM Central Daylight Time,
josephwu@ULTRANET.CA writes:

 Also de mi corazon, this was funny the first time (Xuxa). Then we got the
 second one (Michael LaFlosse). Perhaps it's time to give it a rest? >>
>>>>

Joe Wu,

I do not try to be funny, I defend name of my cousin. I am happy to I say
what I want here. I speak from the heart.  I know what I think is normal to
think.  Are you going to stop me?

Screw you Joe Wu }:-)

De mi corazon,

Maria Conchita Gomez-Montoya





From: Maria Conchita Gomez-Montoya <DosRiosRh@AOL.COM>
Date: 17 Aug 1999
Subject: Re: My mistake (was Re: FuRUTI Posting)

In a message dated 8/17/99 8:47:19 AM Central Daylight Time,
furuti@AHAND.UNICAMP.BR writes:

 OOPS - SORRY. I'm at fault here. I have never seen (I'd like very much to)
 Gomez's latest book, and I had completely forgotten its title when I first
 replied to Ronald.  For "O. Monsters" I meant *J.Ansill*'s book,
 entitled either "O.Monsters" or "Mythical Beings -- O.Monsters",
 depending on which side of the Atlantic your copy was published.

 Apologies to the whole list for any confusion I can have caused.

         Sincerely,
                 Carlos >>

Carlos,

Gracias.  Thank you for clearing the name of Fernando.  His book is very
good.  Please buy from him... he needs.  He works on new book now!

>>Isn't "Xuxa" a nickname for "Maria"?

no,  Mary :-)

De mi corazon,

Maria Conchita Gomez-Montoya





From: Michael Janssen-Gibson <mig@ISD.CANBERRA.EDU.AU>
Date: 17 Aug 1999
Subject: Re: Jackstone

On Mon, 16 Aug 1999, Nick Robinson wrote:

> He meant the "Jackstone", (a stellated cube in Harbin's "Origami 2") - a
> remarkable tour-de-force from the late Jack Skillman. When I joined the
> BOS, there was an unwritten tenet that until you'd made this design, you
> couldn't really call yourself a proper paper-folder. Nonsense, I know,
> but I was soooo satisfied when I finally made it. The main problem I
> found was the "collapse" diagram has a few subtle errors.

I always found these diagrams to be difficult to follow, rather like those
illusions of the old lady which is also a young lady, or the pictures of
the cubes that can pop in and out of the page. I would see lines defining
separate flaps rather than just representing old creases, or I wouldn't be
holding the model at the right angle etc. Finally a friend showed me the
light with a practical demonstration, and since then the diagrams make
(almost)perfect sense!

re: Clare's story of the Jackstone
This same friend told me of a friend he had, who knew of little to no
origami, but this friend could fold the jackstone from memory. Maybe we
have the start of the first origami Urban Myth!! ;}

regards all
Michael





From: Doug and Anna Weathers <dougw@RDROP.COM>
Date: 17 Aug 1999
Subject: Re: Fuse Boxes

>Susan Johnston <oggy@NEDDY8.FREESERVE.CO.UK> writes:
>
>> I've heard many people talking about Tomoko Fuse's box books and as
>> I am new to them, I was wondering which one I should start off with.
>
>I don't think it matters much.  "Origami Boxes" has a collection of
>modular boxes with fairly flat lids; "Fabulous Origami Boxes" has some
>lids with flowers and cranes and things on.  (Both these are in
>English, although the diagrams alone are quite clear.)

For beginners, I strongly recommend Joyful Origami Boxes.  It has some of
her simplest and most elegant designs in it.  The presentation is cleaner
and more beautiful than Origami Boxes, and the diagrams a little easier to
follow.  Fabulous Origami Boxes is harder, and the rest are not in English.

When I first saw Tomoko Fuse's boxes, I spent weeks in an admiring daze.
They stun me with the depth of three dimensional geometric understanding
they display, yet she can also explain them clearly to us less enlightened
mortals.  Exceptional.

Anna

Anna Weathers, Portland, Oregon, USA
"In paradox truth."





From: Doug and Anna Weathers <dougw@RDROP.COM>
Date: 17 Aug 1999
Subject: Re: ORCA! (long)

Greetings, all!

I attended ORCA as my first origami conference and had a great time.  It
was wonderful to meet fellow folders.  A spirit of generosity animated
almost everyone, and I found many folders very approachable, eager to share
and explain, patient with my sometimes slow understanding.  Attendance was
between two and three hundred, counting one day drop ins, and with that
many people who love origami and wanted to share, it had to be good.  And
it was.

I learned and enjoyed learning from Terry Hall, Michael LaFosse, Mark
Marden, and Jasper Paulsen in more or less informal situations.  Any names
omitted represent my poor memory and inability to be in several places at
once.  Other "celebrity" attendees, whom I did not have a chance to learn
from included John Montroll, Gay Merrill Gross, Florence Temko, Joseph Wu,
and Mr. Hogyo, a contest winner from Japan, and others who escape my memory
at the moment.  Many of my best memories will feature those who fold
without fame, and were very friendly to me, like Joyce, Sadie, Patti, and
Mary, who shared my dorm cluster.

The displays were beautiful.  This was my first chance to see complex and
artistic origami in person rather than in photographs.  It was wonderful to
see them from many angles, and with a chance to catch the light
differently.  Sy Chen's models were there, as were money folds from Allen
Parry and another folder, a good selection of talented young folders,
creatures from John Montroll, and molded creatures from Michael LaFosse,
showing the advantages of specialized paper and wetfolding -- and much
more.  We had a short window of opportunity to catch most of Joseph Wu's
work, as his models came later and left earlier than most (with a couple
graciously remaining and empty cases to mark where the rest had been.)
Some of the models were displayed without folder info, as the stunning
mushroom and a Statue of Liberty --  for others, as the study room in
miniature and the quilts, I do not remember the folders.  I returned
several times to see new angles.

ORCA was not a highly structured convention.  This was both practical, as
it allowed the relatively small group in Seattle to cope with preparing for
it, and a philosophical choice.  I heard many times that this is not like
New York.  Classes were loosely scheduled, and each day's schedule was only
printed the morning of that day.  More classes were written up on dry erase
boards at the front of the room, and at least one of the printed classes
disappeared.  Others started earlier or later than their printed time.  All
classes took place in one large room, at tables loosely divided into
difficulty levels.  There was no advance sign up, and display of models
that would be taught.  I heard some frustration about that.  It was hard to
plan ahead, and know whether a class would create something interesting to
a particular folder.  Also, the models taught were somewhat skewed towards
the more difficult end.  To join a class, you discovered where it was in
the room, and then found room at its table.  I found this a bit
intimidating at times, but was always welcomed in.  Another advantage to
the format -- classes could easily be added, and there always seemed to be
something going on that I could join.  Classes ran more on the friendliness
and volunteer spirit of the teachers and attendees (not always a clear
division), than on preplanning.  I learned some of my favorite folds after
hours -- everyone was well warmed up from the classes to continue offering
to teach and finding teachers after dinner.

University of Washington has a beautiful campus.  Most taxi drivers knew
how to find McMahon Hall, where we registered.  The main restaurant area
was a half mile from the convention area -- quite a long ways for some
folders.  As origami draws fans from all ages and health levels, better
transportation off campus would have been helpful.  The supermarket was
nearer, but down a steep hill.  The cafeteria ranged from adequate to bad
-- one of my dorm neighbors and I both developed upset stomachs after
eating there.  It seemed expensive for what it offered as well.  The dorms
were clean, small, uncarpeted.  They had phones with voice mail, which I
found useful.  I heard they were nicer than New York, and less expensive
than San Francisco.

There was a good selection of venders.  Seattle has tourist value -- less
than Portland (insert tongue out smiley here), San Francisco or New York,
but good for a quick visit like a con.  The weather was mild, raining
gently off and on Saturday and Sunday.

I came away with new folds, new friends, and new fervor.  What more could I
ask?  It was a good convention.

Anna

Anna Weathers, Portland, Oregon, USA
"In paradox truth."





From: Doug and Anna Weathers <dougw@RDROP.COM>
Date: 17 Aug 1999
Subject: Re: [NO] Music to Fold By

>excepted from Kenneth Kawamura

>It doesn't help that I don't so much hear the notes
>going up and down, as I hear them "moving", without
>a sense of which direction they're moving in. My "ear"
>doesn't seem to distinguish readily between pitch,
>duration, and just plain presence.
>
>For instance, I  "know" now that the first three notes of
>"Three Blind Mice" are the same note three times, but
>I have trouble hearing that, maybe because the words or
>the rhythm are getting in the way.

The version I know of Three Blind Mice starts with three notes of the same
duration but of descending pitch.  Curious.

>I like the Gilbert and Sullivan patter songs as much for
>the clever wording [....]

>There's a cute Fats Waller song, "Cockroaches on
>Parade", that I ran into in a science fiction "Filksong"
>tape.

I listen to a lot of filk.  There are more clever lyrics there than in 99%
of popular music.  Bob Kanefsky alone provides more wit than I hear in a
month of radio, then there's Leslie Fish and Jordan Kare, and...

>And two friends introduced me to "Zombie Jamboree".

Was that the Lord Invader version, the Kingston Trio version, or some other?

As to what I listen to when folding, I haven't yet noticed any pattern
different from what I listen to generally.  I listen mostly to the spectrum
from folk to rock, plus a smattering of instrumentals.  It's worth making
some experiments.  Would a rose folded to the cathartic lyrics of Leslie
Fish look different than one folded to the serene beauty of Andrew York's
solo guitar?  How about the grand strains of the Star Wars soundtrack, or
the angst of Nirvana?  Hmm...

Intrigued,
Anna

Anna Weathers, Portland, Oregon, USA
"In paradox truth."
