




From: Jeff Kerwood <jkerwood@USAOR.NET>
Date: 19 Oct 1999 11:03
Subject: Re: Wet behind the ears

> Towards the end of the model, the da*##$@ thing kept coming unfolded, and
> the
> tail unfolded itself.  I wasn't able to get in a good crimp-- seems i
> couldn't soak all the layers of paper enough.
>
> Any ideas? Tips?

Well Rob, I am FAR from an expert on wet folding. You may want to review
the archives, you'll find LOTs of info on wetfolding. But I'll give you my
one cents worth anyway. If I had a million dollars I'd bet you the paper
was WAY too wet. It should NEVER become limp. The feeling you are after, as
I was similarly advised, is * leathery *. So, here's what I do. I take a
handywipe kind of towel and fold it into a small rectangle, then quickly
dip one edge of it into a dish of water. Then I squeeze almost as much
water from the edge as possible. Then, on each side, gently rub (or dab)
the towel on the paper. Just try it way dryer than you think it should be
and you'll probably be only a little to wet ;-). And different papers
require different techniques. Elephant hide absorbs water comparatively
slowly, so to properly wet it my take * at least * a few minutes (some
people use a technique where the water is absorbed overnight). Other papers
abrade easily so you may need to dab the water on rather than rub it in.

You are right that the paper getting dry to fast is a problem. That is why
it is so important that you really have the model under you fingers before
you try wet folding it. You should be able to whip right through folding
it. And I haven't folded the model you tried but I have seen it. Personally
I'd pick a really really easy model that you know very very well for a
first attempt.

Now, as to rewetting all the layers when they get too dry. First, don't try
and overfill the paper with water so it will stay wet longer, overwet paper
is just yucky. Here are some of the techniques I use to deal with the
problem. One is to use a small (1/4") painters brush to reach into the
model and rewet. Or I use a mister (thought I've found that the mister
tends to get the paper to wet). Or I unfold the model and rewet it (of
course this can only be done up to a point). I also dip my fingers in water
and dab them dry every once in awhile (this keeps your fingers from
absorbing water from the paper). And lastly, sometimes there will be a part
of the model that I know will be easy to rewet after I've finished the rest
of the model. I ignore that part of the model (say horns on mask) so I can
get the rest of the model done quickly. Then after I've finished the rest,
and even shaped it and let it dry, I go back and rewet (with the painters
brush) and finish that ignored feature.

And one last thought about the unfolding tail. After you have finished
folding the model, even if it has been properly wetted, you need to shape
the model as it dries. As I said I'm guessing your paper was way too wet,
but even if it wasn't the tail would tend to relax until it is dry. People
use all kinds of things to hold a model in place until it dries, things
like: paperclips, clothespins (and you can even get cool mini ones (for
dollhouses) at craft stores), wire, pipe-cleaners and oh yes, hands. [note
that some things leave marks on the paper so be careful.]

Like I said I'm not the last word in wet folding so I'm interested in
what other have to say . Thank you for the question.

Good luck,
Jeff Kenwood.





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 19 Oct 1999 11:40
Subject: Re: The Price of Technical Virtuosity

>I think beauty (or Beauty) can't exist without these restrictions. There are
>certainly many different definitions of what beauty is. But if we say
>something is beautiful, it is usually because this particular
>object/tune/whatever fits within our own framework, our own reference system
>of what "beauty" is for us. This implies restrictions, a reference system, and
>a certain narrow-mindednes (to refer to another message in this thread).
>
>Matthias 'way outta my league' Gutfeldt

I disagree I think beauty is what knocks our socks off because it doesn't
fit in our reference system.  But hey you know what they say: "beauty is in
the eye of the beholder" if there was ever a corny cliche that needed to be
used it was that one.

David





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 19 Oct 1999 11:49
Subject: Re: Wet behind the ears

Hi Rob!  You made the samje two mistakes that I made when I wetfolded for
the first time!  The paper was too wet and you should have chosen a simple
model to start out with.  When you hear wet folding think damp folding.
The goal is to make the paper and soft and supple and easier to manipulate
than dry paper.  This means you only want it soft and damp not wet.  Spray
some water on then wipe off the water until there is no water you can see.
Either fold fast until it dries or continuously wet it.  If your paper is
dry enough you can even unfold the model to rewet it then recollapse it.
Here's another suggestion: experiment with different kinds of papers to see
what you like best.  If I hadn't experimented I wouldn't have realized that
paper I like best for wetfolding was just cheap xerox paper!  Happy wet
folding!

David





From: Russell Sutherland <RGS467@AOL.COM>
Date: 19 Oct 1999 12:26
Subject: Re: Wet behind the ears

In a message dated 10/19/99 9:04:03 AM Central Daylight Time,
FashFold@AOL.COM writes:

>>>
 I attempted Joisel's Rat for my first time, which might have been a mistake.
 I started by "misting" the paper with the bottle, then wiping it down with
 the sponge.   I continued in this way, spraying and wiping before folding.
 If the paper became too limp I just wiped it down with the sponge again.
 >>>>>>

Joisel's rat, eh?... That's a pretty compex fold for trying wetfolding for
the first time.  Do you have the model down pat? It's important to be
familiar with the folding sequence of a model before attempting to wetfold
it. What size paper are you using?

>>>>>>
 Towards the end of the model, the da*##$@ thing kept coming unfolded, and the
 tail unfolded itself.  I wasn't able to get in a good crimp-- seems i
 couldn't soak all the layers of paper enough.
>>>>>>>>>

Sounds like you have the paper too wet. Conserve water!!  I usually moisten
the paper completely before I start folding.  This makes the first folds in
the model more time-consuming ( and a bit frustrating) because the paper
doesn't make as sharp a crease... However, because it does'nt, the fibers are
not damaged as much, and the creases don't show nearly as much in the
finished model.  By the time you get to the more intricate folds in the
model, the paper has had time to dry somewhat and may hold the creases
better. I don't re-moisten the paper until final shaping unless I have let
the paper dry too much during folding.  I find it's best to start and finish
a wetfolded model in one sitting.

If you get the paper too wet or want to dry the model a bit, "band" the model
to the shape you want it to stay, and microwave it for small increments of
time on low heat....watch out for hotspots in the microwave so as not to
scorch the paper.

 Everyone has their own little tricks that work for them... I would suggest
you know the model you are wetfolding inside-out.  Paper performs much
differently moist than dry.  Try something a bit less complex at first...
Maybe a traditional crane.  Wetfold the crane with different papers... at
different wetnesses.... experiment with rounding out the head and tail and
adding a graceful arch to the wings.,,, maybe puff out the middle. Note that
the crease lines do not show or grab nearly as much.

GOOD LUCK with the next model.

HEY!  With Halloween right around the corner, why not wetfold La Fosse's
Happy Goodluck Bat!  It is an excellent model to wetfold and yields great
results.

Hope this helps,
Russell

DARE TO WETFOLD!!!!!!!!





From: Rob Hudson <FashFold@AOL.COM>
Date: 19 Oct 1999 12:49
Subject: Re: Wet behind the ears

Thanks for the tips!

I forgot how frustrating "starting over" with Origami techniques can be.  I
should know better after 14 years of folding!

( ... now where did I put that LaFosse video...)

Rob





From: Michael Antonette <mylor@TELUSPLANET.NET>
Date: 19 Oct 1999 12:55
Subject: Re: Suggestions for Toronto?

-----Original Message-----
From: Alex Barber <barber@ADMIN.CARLBERG.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Tue, 19 Oct 1999 12:55:08 -0400
Subject: Suggestions for Toronto?

>It looks like I'll be going to Toronto in mid-November. Can anyone
>recommend any paper or origami book vendors in that city? I know there's
>more to do there than just feed my habit, but I thought I'd ask for
>pointers ;)
>
>Alex Barber
>
>--
>tel 713.965.0764 fax 713.965.0135
>barber@admin.carlberg.com
>barber@the-village.com | http://www.the-village.com
   Hi!
   You might try the Japanese Paper Place. It used to be on Queen St. West,
but I think they moved a few blocks away... You've got the name, anyway!

                                         Michael





From: Anine Cleve <anine20@USA.NET>
Date: 20 Oct 1999 11:11
Subject: Re: [Re: The Price of Technical Virtuosity]

I got introduced to Origami by a friend of the family who had been in Japan
often (or maybe she had even lived there for a short time). For christmas she
gave me an origami book and a package of paper and from that on I was hooked
(I had borrowed books at the library before where nobody had ever told me
about it or I knew anyone who did it, but those books were probably too
difficult for me.. they didn't say me anything). Maybe it helped that I've
always been a creative soul.
How did you people out there get introduced to Origami?

Donna & Robin <robin@RGLYNN.KEME.CO.UK> wrote:
What would be most likely to convert a newcomer to paper folding? A simple
beautiful origami model that takes a bit of imagination to work out exactly
what it's supposed to be, or a complex model way beyond the scope of a
beginner that shows just how technically advanced Origami has become. I
believe that one of the reasons Origami is not a more 'mainstream' activity
is because people believe that the subject has too many limitations. A lot
of people, myself included, were introduced to Origami way back when
giraffes had 3 legs!

Robin Glynn

____________________________________________________________________
Get free email and a permanent address at http://www.netaddress.com/?N=1





From: Michael Antonette <mylor@TELUSPLANET.NET>
Date: 20 Oct 1999 11:46
Subject: Re: The Origami Man

-----Original Message-----
From: Askinazi, Brett <brett@HAGERHINGE.COM>
To: ORIGAMI@MITVMA.MIT.EDU <ORIGAMI@MITVMA.MIT.EDU>
Date: Wed, 20 Oct 1999 11:46:54 -0400
Subject: Re: The Origami Man

>If it's any consolation, my ex-girlfriend at Cambridge continually
>introduced me as the 'Origami boy'.
>A whole new world of racists and bigots have been uncovered.  I think we
>should join the anti-defamation league or that anti-hate website.
>I too hang my head in shame, at being called 'Origami-boy'.
>Brett

I know that feeling. I used to get that from my ex girlfriend as well. I
didn't help matters by folding pieces wherever I go ( I ALWAYS have paper
with me, otherwise I use pieces of newsprint, magazines, menus...). I've
become quite known for it.
   You'll always get people who sneer; usually, though, I just smile and
hand those people something, like a kangaroo or a stegosaurus, and ask them
to fold something better... maybe a donkey, or some other self-likeness...

                                           Michael





From: "Kennedy, Mark" <KennedyM@DNB.COM>
Date: 20 Oct 1999 12:01
Subject: Origami Sunday at Museum of Natural History

Folding Sunday
(Formerly Folding-Free-For-All)

Origami Sunday will be held this Sunday in The Kaufman Auditorium across the
hall from
Blum at the Museum of Natural History. The change of location is due to the
continuing construction
at the Museum. There will be two tables with chairs set up on the stage for
folding. We will all be
thankful when the construction is finished.

Any OrigamiUSA members in or visiting the New York City area on the 4th
Sunday of each month are welcome to join our monthly folding meetings at the

American Museum of Natural History from 1:00 to 4:00 PM.

Please bring folding paper plus something to share. It's especially
appreciated if you
bring a model to teach, but if you're not comfortable teaching yet please
bring something else to contribute such as a model to show that you've been
enjoying folding, an origami book or newsletter others might find of
interest, or paper for the group. We will have a special "sharing table" set

aside for display of models to teach, models to show, books, publications,
and paper contributions.

These monthly meetings are a continuation of the tradition Lillian
Oppenheimer began over 40 years ago of encouraging paperfolders to get
together to teach each other and exchange ideas. OrigamiUSA is able to
provide a meeting space - the rest is up to those attending. When you arrive

at the museum please check at any information desk for the meeting room
number.

The folding sessions are similar to the informal folding at convention.





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 20 Oct 1999 12:05
Subject: Re: The price of technical vrtuosity

    It is truly a privilege to be able to listen to the true artists on the
list debate the meaning of beauty and art. Forums like this are the real
revolution in the information age.

    However, as a Philistine who simply enjoys folding paper, I concur
wholeheartedly with Brett Askinasi who said:

>I like models with the sticky-out bits. The ones I tend to fold the most
are the ones that >have a pleasing folding sequence.

    I feel that a great deal of the artistry is in the diagramming itself.
The designers who can not only invent the model, but then work out a
satisfying folding sequence, and then diagram it clearly so it can be
reproduced by others, has not only created a model but the perpetuation of
his creation. S/he has also earned the gratitude of those of us for whom the
pleasure is in the folding as much as the result.
    I spent yesterday afternoon on a first try at Kawahata's new
Triceratops, and while the result looked as though it came in second in a
fight with a T. Rex, I enjoyed the process immensely, marveling at
Kawahata's genius and the unraveling of the puzzle of the folds.

Scott scram@landmarknet.net
Littleton, NH USA





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: 20 Oct 1999 12:07
Subject: Re: Wet behind the ears

Maxim Candries <Maxim.Candries@NCL.AC.UK> sez

> Although people who don't know what you are doing and see you
>microwaving a rat may find it a bit macabre

Better than eating one raw....

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: Rob Hudson <FashFold@AOL.COM>
Date: 20 Oct 1999 12:19
Subject: Re: Wet behind the ears

You know what they say, Nick:

"A rat a day keeps the plague away"





From: Rob Hudson <FashFold@AOL.COM>
Date: 20 Oct 1999 12:19
Subject: Re: The Origami Man

A group of friends and I used to hit the local Friday's and Damon's (a rib
chain) on the weekends and sit for a couple of hours to drink and fold.  We
made the waiter wear a paper crown and deliver roosters to the tables of
strangers.

Ok, don't ask me to explain it. That was AFTER we had been drinking for a
while..

(and don't ask what we made him say..)

Rob





From: DLister891@AOL.COM
Date: 20 Oct 1999 12:27
Subject: Kayaragusa, alias "Kan no mado".

I found myself responding to a query in Rec. Arts. Origami. It turned out to
be longer than I intended and I thought that subscribers to Origami-L might
like to see the result, so here it is. I precede it with the question that
was asked.

The following question, posted on 20th October,m was from Aurele Duda:

"I'm a French student in musicology, and I want to write a piece of musical
theatre based on the origami tradition. I have heard of a old Japanese Book
named 'Kan-no-mado' which collected some text and diagram of utilitary,
enjoyed and artistic foldings.

"Someone knows if it was published in another language or if it was available
for cosultation on line ???".

My reply:

First, a note about the name, "Kan no mado" by which the work is usually
known in the West. It appears that this is incorrect and came from a
misreading of Japanese characters on back of  the facsimile copy of the work
in the Library of Congress.I understand that these characters do not appear o
the original manuscript. They were read as Kan no mado" which would mean
"Window of the Coldest Season." A correct reading would be "Fuyuno Mado",
which means "Winter Window". To me, the difference does not appear to be
particularly significant.

However, there is a further puzzle. The "Fuyuno Mado" forms the fourth
section of the complete manuscript encyclopaedia and does not contain the two
volumes of paperfolding. The Paper folding is contained in volumes 27 and 28
of the second section, which is called the Kayara-gusa. For this reason, the
preferred name is Kayara-gusa, not Kan no mado. I do not know what
Kayara-gusa means, but "gusa" means fragments of memoranda. The encyclopaedia
is a collection of handwritten notes or jottings made by a private compiler
and drawn from many sources.

I still do not know what is the correct name for the whole encyclopaedia. It
is not a printed book, but a manuscript compilation in 233 volumes which look
much like exercise books. It is said to have been compiled in 1845, although,
I suspect that it took much more than a single year to research and write by
hand.

Whatever the technicalities, the name, "Window of the Coldest Season" does
not seem to me to be at all inappropriate.

The original of the Encyclopaedia is still held in the library of the Osaka
Asahi (newspaper) and when I visited Japan in 1994 I was afforded the rare
privilege of seeing the original through the good offices of Mr. and Mrs.
Yoshihide Momotani. (I was probably the first Westerner to see it since
Professor Starr.) It was most impressive and the coloured pages were as crisp
and vivid as on the day they were drawn.

Around 1920, a facsimile copy was written and drawn by hand for Professor
Frederick Starr of Chicago University and when he died it passed with his
papers into the Library of Congress in Washington. There it lay forgotten for
thirty years. Largely through the promptings of Gershon Legman, Julia and
Martin Brossman caused a search to be made in the Library of Congress and the
Starr copy was found in March 1960. This was at a tike when the modern
paperfolding movement was in its infancy and when there were still very few
contacts between the West and Japan about paperfolding.

At that time, the buildings of the Osaka Asahi were being rebuilt and their
library was in store, so that the original encyclopaedia was inaccessible. It
was two or three years before the original was brought to light as a result
of enquiries by Akira Yoshizawa.

Photocopies of the paperfolding sections of both the original encyclopaedia
and of the hand-drawn facsimile copy made for Professor Starr of Chicago
University were, at one time, distributed, but I do not know of any source
from which copies could be obtained at present. It may be possible to obtain
a photo-copy of the Starr facsimile from the Library of Congress. A
comparison shows that the facsimile is an astonishingly exact copy of the
original.

So far as I know, no printed copy of the original work owned by the Osaka
Asahi has ever been published.

The original, longer edition of Isao Honda's "World of Origami" reproduces
only a few of the models. As the text says, it was written before the Osaka
Asahi original came to light, so that the source of his illustrations must
have been the Starr copy.

Julia and Martin Brossman published and edition of the Starr copy as "A
Japanese Paper folding Classic" in 1961. The publisher was The Pinecone Press
of Washington. It reproduces each page of the original in slighly reduced
form. However, each page is  scattered with arabic numbers in red alongside
the original Japanese numbers. this rather spoils the purity of the
reproduction. To compensate, alongside each page is a wide margin giving and
English translation of the Japanese text. In addition there are eighteen
pages of a very interesting introduction written by the Brossmans.

"A Japanese Paper Folding Classic" is, of course, now out of print and it was
published in a limited edition of only five hundred copies. Very occasionaly
a copy turns up and is eagerly snatched up.

The only realistic way of seeing a copy is to find one in a library. Apart
from public libraries, mainly in the United States, there are copies in the
libraries of Origami USA and the British Origami Society. They are probably,
however, held in their reserve collections and not in their lending
libraries. It is just possible that the British Origami Society may have a
copy available for lending to members. Why not write to ask?

There are only two other ancient works of Japanese recreational paperfolding.
"Senbazuru Orikata", is a printed book published in 1797. It deals with the
special subject of folding multiple cranes. A related work, "The Chushingura
Orikata", also issued in 1797, is not a book, but two printed sheets of
paper. It shows the characters in the famous play, "Chushingura", together
with diagrams for folding the figures.

Unfortunately the history of Japanese origami is not very well documented. I
should be interested in hearing more about your proposed musical work.

David Lister.





From: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 20 Oct 1999 12:29
Subject: Re: Sticky-out piece? [was The Price of Technical Virtuosity]

Ronald Koh wrote:
>
> ... one with the sticky-out piece coming out the rear end? Whatcha
> talkin'
> 'bout, Mathias? :o)

Uh, oh, I mean... well... *cough*

Matthias





From: Bernie Cosell <bernie@FANTASYFARM.COM>
Date: 20 Oct 1999 12:36
Subject: Re: FW: Question about Map Folding

Hi tom..

This is a fascinating idea.  My first thought was whether one of the
'flexagon' variants might do [my thinking here is NOT to fold a
'traditional' [sq/rect] map and make it happen, but 'what if' the
manufacturers were will to *accommodate* some kind of clever folding-up.]
If not a flexagon, perhaps the map could be printed on small squares that
could then be easily manipulated.

One case in point, for example, is a map of the night skies [a 'star
chart' as it were] that works just as slick as you could please: the map
is printed appropriately on the outside of a sphere [no trick there, of
course], and then it is inverted over a thin plastic half-sphere shell
[with the shell entirely _inside_ the printed map].  So you end up with
something that looks like a half-spher shell with three layers as you
look down into the concave part [as if you were inside the sphere looking
out from its cneter]: you see the near layer of the map, then the layer
of stiff plastic of the sphere, then there's the back layer of the map.

What's neat is that you can manipulate the map continuously, jsut by
sliding 'around the edge' appropriate, and so you can make it always
agree with exactly what you see overhead [unlike real star charts that
either need LOTS of overlap or else you need to hop across two a lot].

> I know that was probably very mysterious for those who haven't
> studied the classic sea urchin.  But give it a try!  Try a 3 x 3
> grid first and see how that works.

A quick skim of my origami books didn't show up a diagram of the sea
urchin [I *dont*like* animal model.. I'm kind of a math
/tellation/polyhedra sort of folder..:o)]... anyplace you can point me at
something so I can try it... it sounds really neat...

thanks!

  /bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 20 Oct 1999 12:38
Subject: Re: Cuckoo Clock

>Has anyone attempted Robert J. Lang's Cuckoo Clock from his book?
>
>If so please help!....I am stock on section 19. Which basically
>reads...'Unfold the hidden paper,etc.' if I do this it will destroy the
>model due to reverse folds put in in step 18!!
>
>
>HELPPPPPPPPPPP!!!!!!!
>
>Darren Karp

If you don't get a good reply soon Darren, try looking at the errata page
and doing an archive search, just a suggestion.

David





From: Thoki Yenn <thok@THOK.DK>
Date: 20 Oct 1999 12:39
Subject: Sv:      A Reply to Ronald Koh

Abstract from Paul Jackson in  =93A  Reply to Ronald Koh=94=20

3) a paper ballet to create an exquisite half arch form that=20
stood on end, half curved, half straight.=20
=20
(Thoki, do you remember this?). =20
=20
Yes, Paul, thank you for reminding me
now I remember, I had forgotten all about it,=20
but I followed  your invitation=20
and your verbal instructions, =20
and there it was=20
and now it is =20
http://www.thok.dk/abstract.html=20
=20
I was just showing Paulo Mulatinho=20
how to change a square into a silver rectangle=20
and went on fiddling with the folds and then=20
this abstract form created itself =20
when I opened it and put it on the table.  =20
Paulo thought it =93beautiful=94 enough=20
to put it in the first Edition of his =20
=93Pfifiges Origami=94 1993 - ISBN3-8043-0368-4=20
=20
Kind Regards=20
=20
Thoki Yenn=20





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 20 Oct 1999 12:41
Subject: Re: [Re: The Price of Technical Virtuosity]

>I got introduced to Origami by a friend of the family who had been in Japan
>often (or maybe she had even lived there for a short time). For christmas she
>gave me an origami book and a package of paper and from that on I was hooked
>(I had borrowed books at the library before where nobody had ever told me
>about it or I knew anyone who did it, but those books were probably too
>difficult for me.. they didn't say me anything). Maybe it helped that I've
>always been a creative soul.
>How did you people out there get introduced to Origami?
>

When I was a young lad, only in fifth grade, my sister had to do a project
for her third grade class.  Guess what, she chose origami.  My grandparents
thought that she really liked it, which she did for awhile, and gave her
the Complete Book of Origami by Robert J. Lang for Christmas.  She got
tired of it but I didn't and she gave it to me.  I've been hooked on
origami ever since.  I must say though I haven't been continuously in
origami since then.  Origami has the same magic for me as a third year
college student that it did for me when I was an elementary school student.

David





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: 20 Oct 1999 13:09
Subject: Re: The Origami Man

This sounds like a great UNLEASHED topic.

You think you're off the hook ? >   forget it :)

Brett

-----Original Message-----
From: Rob Hudson [mailto:FashFold@AOL.COM]

A group of friends and I used to hit the local Friday's and Damon's (a rib
chain) on the weekends and sit for a couple of hours to drink and fold.  We
made the waiter wear a paper crown and deliver roosters to the tables of
strangers.

Ok, don't ask me to explain it. That was AFTER we had been drinking for a
while..

(and don't ask what we made him say..)

Rob





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: 20 Oct 1999 13:15
Subject: Re: Wet behind the ears

I'll have one rat tart, without so much rat in it.

Brett

You know what they say, Nick:

"A rat a day keeps the plague away"





From: Dorothy Engleman <FoldingCA@WEBTV.NET>
Date: 20 Oct 1999 13:21
Subject: Thoki Yenns's Abstract Form

Dear Thoki,

Thank you (and Paul Jackson!) so much. Your abstract form is quite
beautiful!  Though I am, alas, a geometry troglodyte, my imagination is
piqued by your model. I'm looking forward to folding it in a variety of
papers and sizes.  Encore!

Dorothy





From: Andrew Daw <andrewd@REDAC.CO.UK>
Date: 20 Oct 1999 13:29
Subject: Re: Wet behind the ears

So that's what SPAM means:
 Somebody 'pinged' a mouse :O)

> -----Original Message-----
> From: Origami Mailing List [mailto:Origami@MIT.Edu]On Behalf Of
> Askinazi, Brett
> Sent: Wednesday, October 20, 1999 6:28 PM
> To: ORIGAMI@MITVMA.MIT.EDU
> Subject: Re: Wet behind the ears
>
>
> I'll have one rat tart, without so much rat in it.
>
> Brett
>
> You know what they say, Nick:
>
> "A rat a day keeps the plague away"





From: Andrew Daw <andrewd@REDAC.CO.UK>
Date: 20 Oct 1999 13:30
Subject: Re: A Reply to Ronald Koh (Variant on abstract origami)

1) If you fold part of the diagonal from the top right corner, just
   enough to position the second fold.
2) Now fold over the left edge so it lines up with the bottom left corner
   and lies along the crease made in one (as per original diagrams).
3) Next fold down the top right corner along the line of the top of the
   flap made in step 2.  Crease only along the bit that matches up with
   the flap.
4) With the corner still folded over lift what used to be the top right
   corner to line up with the top point of the triangular flap formed
   in step 2.
5) You will have now created the 'tab' to push under the flap from step
   two.

   Ta-da ! You should have the arch without all the extra creases.

   Thank you Thoki.

> -----Original Message-----
> From: Origami Mailing List [mailto:Origami@MIT.Edu]On Behalf Of Thoki
> Yenn
> Sent: Wednesday, October 20, 1999 4:42 PM
> To: ORIGAMI@MITVMA.MIT.EDU
> Subject: Sv: A Reply to Ronald Koh
>
>
> Abstract from Paul Jackson in  =93A  Reply to Ronald Koh=94
>
> 3) a paper ballet to create an exquisite half arch form that
> stood on end, half curved, half straight.
>
> (Thoki, do you remember this?).
>
> Yes, Paul, thank you for reminding me
> now I remember, I had forgotten all about it,
> but I followed  your invitation
> and your verbal instructions,
> and there it was
> and now it is
> http://www.thok.dk/abstract.html





From: Kim Best <kim.best@M.CC.UTAH.EDU>
Date: 20 Oct 1999 14:11
Subject: Re: Wet behind the ears

Rob Hudson wrote:
>
> Hello everyone!
>
> I'm finally here with a serious question, now that I've been flapping my
> fingers more than my gums.  I attempted wet-folding for the first time last
> night with elephant-hide paper with less-than-stunning results.
>

Don't believe all these guys Robert they're all pulling your leg.
Shame on you all for deceiving poor trusting Robbie.  But really,
it should have been obvious.  Just think about it, it's called
WET folding and they're telling you to just get the paper damp?
Get real!

Just as you suspected, your not getting the paper wet enough.
The idea is to get the fibers so soggy and soft they won't break
when folded. If water is not oozing out of the paper, it's not
wet enough. Also you want to get paper as thick as possible, like
cardboard stock.  In fact I find cutting out the sides of
corrugated cardboard shipping boxes works well for me.  If you
get the paper soft enough, the fibers starts pulling away form
the paper and you can get a lot of nice "sticky out parts" in you
model by sculpting alone!

If you find your model is unfolding itself, it is probably
because there is not enough sizing in the paper.  Many people use
methyl cellulose, or wheat starch.  But I find that Elmers glue,
or even a pot of extremely over cooked pasta, works well for me.

Lately I have found the use of spray bottles or damp cloths to be
a bit tiresome.  Maybe it the high altitude, but I find the paper
just keeps drying out on me.  Lately, I have been actually
folding my paper under water.  At first I tried folding in the
bath tub.  But I kept slipping on the enamel surface.  Besides,
it was hard to see my paper through all the soap bubbles.

The best thing to do is buy a good set of scuba equipment and go
to a local lake and fold while diving.  Wiping the paper against
a few passing bass should add enough thickening agent to keep the
paper together.  In addition, if you dive deep enough, the added
water pressure, should help hold the paper together.

Of course one problem with getting the paper so wet is that it
tends to collapse under its own weight.  Some people try to
compensate for this by using clothes pins, or wire, or other
tools.  But I personally feel that all these outside tools,
violate the whole spirit of Origami.  The best thing to do is
make sure the paper dries quickly.  The only way to do this is to
heat it.  I find that a pottery blasting furnace works best.  But
be sure to also invest in a good asbestos body suit.  You will
want to adjust the shape of the model as it dries, and you don't
want to get yourself burnt.  Oh, be careful to not heat the model
to long.  After all it is paper, and you don't want all your hard
work to catch on fire.  Well, that is unless your name is Jeremy
Shaffer.  The idea is to give the model a nice golden brown
color, without charring.

Alternately, you could just bury the model in the silt at the
bottom of the lake.  Wait a few million years for the paper to
petrify, and dig up your rock hard finished masterpiece.

Just don't believe everything you read on the Net.

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





From: Penny Groom <penny.groom@BTINTERNET.COM>
Date: 20 Oct 1999 14:17
Subject: Re: [NO] gif editors

In article <EJuw8FAHeND4EwR8@cheesypeas.demon.co.uk>, Nick Robinson
<nick@CHEESYPEAS.DEMON.CO.UK> writes
>Donna & Robin <robin@RGLYNN.KEME.CO.UK> sez
>
>>    Does anyone know of a cheap of even free bit of PC software that
>>    will let me crop gif files?
>
>Paint Shop Pro is not free, but it's down to your conscience to register
>it & it'll keep working anyway!
The version I had said it would work for 30 days. After 30 days it gave
me dire warnings and said it would give me another 30 days. After 60
days it would not work at all nor would it let me reinstall it, it has
inbuilt protection against you being able to reinstall it ad infinitum.
I liked it so much I gritted my teeth and paid the excessive amount for
an original.

We had a version for Windows 3.1 years ago which did keep on working
and just reminded you every time you loaded it that you really ought to
buy it.

All the best

Penny

Penny Groom
Membership Secretary, British Origami Society
BOS Homepage
http://www.rpmrecords.co.uk/bos/





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 20 Oct 1999 15:07
Subject: Re: The price of technical vrtuosity

    It is truly a privilege to be able to listen to the artists on the
list debate the meaning of beauty and art. Forums like this are the real
revolution in the information age.

    However, as a Philistine who simply enjoys folding paper, I concur
wholeheartedly with Brett Askinasi who said:

>I like models with the sticky-out bits. The ones I tend to fold the most
>are the ones that have a pleasing folding sequence.

    I feel that a great deal of the artistry is in the diagramming itself.
The designers who can not only invent the model, but then work out a
satisfying folding sequence, and then diagram it clearly so it can be
reproduced by others, has not only created a model but the perpetuation of
his creation. S/he has also earned the gratitude of those of us for whom the
pleasure is in the folding as much as the result.
    I spent yesterday afternoon on a first try at Kawahata's new
Triceratops, and while the result looked as though it came in second in a
fight with a T. Rex, I enjoyed the process immensely, marveling at
Kawahata's genius and the unraveling of the puzzle of the folds.

Scott scram@landmarknet.net
Littleton, NH USA





From: Gillian Wiseman <gilladian@HOTMAIL.COM>
Date: 20 Oct 1999 15:15
Subject: How I found Origami: was The Price of Technical Virtuosity]

I got introduced to Origami with Isao Hondo's World of Origami when I was 8
or 10. The animals fascinated me, and I taught myself how to do most of the
easier models.

For a few years I lost interest, and then gradually as a college student I
fell back into it - I think I found the book again on a visit home, then
found kami paper at a local art supply ... and the rest is history.

Gillian

>
> >I got introduced to Origami by a friend of the family who had been in
>Japan
> >often (or maybe she had even lived there for a short time). For christmas
>she
> >gave me an origami book and a package of paper and from that on I was
>hooked
> >(I had borrowed books at the library before where nobody had ever told me
> >about it or I knew anyone who did it, but those books were probably too
> >difficult for me.. they didn't say me anything). Maybe it helped that
>I've
> >always been a creative soul.
> >How did you people out there get introduced to Origami?
> >
>
>
>When I was a young lad, only in fifth grade, my sister had to do a project
>for her third grade class.  Guess what, she chose origami.  My grandparents
>thought that she really liked it, which she did for awhile, and gave her
>the Complete Book of Origami by Robert J. Lang for Christmas.  She got
>tired of it but I didn't and she gave it to me.  I've been hooked on
>origami ever since.  I must say though I haven't been continuously in
>origami since then.  Origami has the same magic for me as a third year
>college student that it did for me when I was an elementary school student.
>
>David
>

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





From: Kim Best <kim.best@M.CC.UTAH.EDU>
Date: 20 Oct 1999 15:17
Subject: Arch form (WAS: A Reply to Ronald Koh)

Andrew Daw wrote:
>
> 1) If you fold part of the diagonal from the top right corner, just
>    enough to position the second fold.
.
.
.
>    Ta-da ! You should have the arch without all the extra creases.
>

OK, I tried it both ways.  And to tell you the truth I like i better
with the extra crease.
--
Kim Best                            *******************************
                                    *          Origamist:         *
Rocky Mountain Cancer Data System   * Some one who thinks paper   *
420 Chipeta Way #120                * thin, means thick and bulky *
Salt Lake City, Utah  84108         *******************************





From: Donna & Robin <robin@RGLYNN.KEME.CO.UK>
Date: 19 Oct 1999 14:14
Subject: Re: The Price of Technical Virtuosity

What would be most likely to convert a newcomer to paper folding? A simple
beautiful origami model that takes a bit of imagination to work out exactly
what it's supposed to be, or a complex model way beyond the scope of a
beginner that shows just how technically advanced Origami has become. I
believe that one of the reasons Origami is not a more 'mainstream' activity
is because people believe that the subject has too many limitations. A lot
of people, myself included, were introduced to Origami way back when
giraffes had 3 legs!

Robin Glynn





From: Donna & Robin <robin@RGLYNN.KEME.CO.UK>
Date: 19 Oct 1999 14:14
Subject: [NO] gif editors

Does anyone know of a cheap of even free bit of PC software that will let me
     crop gif files? I don't need a full-blown graphics package for hundreds of
     pounds, I only want to reduce the borders on the gif files that VISIO
     generates (I do all my diagrams u
 ing VISIO).

Thanks for your attention,
Robin Glynn.





From: Bernie Cosell <bernie@FANTASYFARM.COM>
Date: 19 Oct 1999 14:25
Subject: Re: [NO] gif editors

On 19 Oct 99, at 19:10, Donna & Robin wrote:

> Does anyone know of a cheap of even free bit of PC software that will let me
     crop gif files? I don't need a full-blown graphics package for hundreds of
     pounds, I only want to reduce the borders on the gif files that VISIO
     generates (I do all my diagrams
 using VISIO).

Just plain old 'paint' will do that just fine.

  /Bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--





From: BoyohBoy17@AOL.COM
Date: 19 Oct 1999 16:07
Subject: Re: Tom Hull's Five intersecting tetrahedra [assemble]

I've seen something on a web page (I think it was made with Mathematica) in
which you could rotate a shape.  That would probably be helpful in the
assembly.





From: P Bailey <pbailey@OPENCOMINC.COM>
Date: 19 Oct 1999 16:07
Subject: Re: [NO] gif editors

> Donna & Robin wrote:
>
> Does anyone know of a cheap of even free bit of PC software that will
> let me crop gif files? I don't need a full-blown graphics package for
> hundreds of pounds, I only want to reduce the borders on the gif files
> that VISIO generates (I do all my diagrams using VISIO).

Try using paint shop pro, it is shareware and readily available off the
net.

Perry

--
"Each time he shifted gears he did it as if the Moment of Truth
had arrived in a bullfight"
H. Allen Smith "The Pig in the Barber Shop"

http://www.afgsoft.com/perry/           <--Website w/ diagrams!
Icq 23622644





From: Nick Robinson <nick@CHEESYPEAS.DEMON.CO.UK>
Date: 19 Oct 1999 16:23
Subject: Re: Wet behind the ears

Rob Hudson <FashFold@AOL.COM> sez

>Towards the end of the model, the da*##$@ thing kept coming unfolded, and the
>tail unfolded itself.

I've got one of Eric's own folded Rats and the tail comes apart slightly
on that - the forces of nature!

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: Matthias Gutfeldt <tanjit@BBOXBBS.CH>
Date: 19 Oct 1999 16:32
Subject: Re: [NO] gif editors

Oooh, I know the 'problems' with VISIO GIF files :-).
Paintshop Pro is great, and it's shareware. Jasc Software. About 190
Swiss Francs, I think.

Matthias

> Donna & Robin wrote:
>
> Does anyone know of a cheap of even free bit of PC software that will
> let me crop gif files?





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 19 Oct 1999 16:40
Subject: Paint shop pro (Was [NO] gif editors)

    You can download an evaluation version of Paint Shop Pro 6  here:

http://www.jasc.com/psp6dl.html

It's a pretty good sized download- set check the specs carefully.

Scott scram@landmarknet.net
Littleton, NH USA





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: 19 Oct 1999 16:52
Subject: Re: The Origami Man

If it's any consolation, my ex-girlfriend at Cambridge continually
introduced me as the 'Origami boy'.
A whole new world of racists and bigots have been uncovered.  I think we
should join the anti-defamation league or that anti-hate website.
I too hang my head in shame, at being called 'Origami-boy'.
Brett





From: Scott Cramer <scram@LANDMARKNET.NET>
Date: 19 Oct 1999 17:02
Subject: Re: The Origami Man

>A whole new world of racists and bigots have been uncovered.  I think we
>should join the anti-defamation league or that anti-hate website.
>I too hang my head in shame, at being called 'Origami-boy'.

    Maybe Origamistan should secede from the rest of the world.

    There are a good many people who would argue that we already have...

Scott (locally infamous as the 'Origami-guy')

scram@landmarknet.net
Littleton, NH USA





From: sychen@EROLS.COM
Date: 19 Oct 1999 17:05
Subject: Re: [NO] gif editors

Old 'Paint' program still can not read and write gif file. I
am assuming you are using windows system. Does VISIO has other
platform version? The best way is to find out how well VISIO
render it to gif format. It is highly possible VISIO has option
for customized exporting.
If you prefer free gif editor go to http://www.freewarehome.com/graphics/gredit.
     html
to download any one supporting gif format.
If you feel like overwhelming to check it out my favorite one
is IrfanView, http://stud1.tuwien.ac.at/~e9227474/
But I could be biassed.

I am looking forward seeing your diagram.

Sy Chen

--- Original Message ---
Bernie Cosell <bernie@FANTASYFARM.COM> Wrote on
        Tue, 19 Oct 1999 14:22:21 -0400
 ------------------
On 19 Oct 99, at 19:10, Donna & Robin wrote:

> Does anyone know of a cheap of even free bit of PC software
that will let me crop gif files? I don't need a full-blown graphics
package for hundreds of pounds, I only want to reduce the borders
on the gif files that VISIO generates (I do all my diagrams using
VISIO).

Just plain old 'paint' will do that just fine.

  /Bernie\
--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--

-----
Sent using MailStart.com ( http://MailStart.Com/welcome.html )
The FREE way to access your mailbox via any web browser, anywhere!





From: Rob Hudson <FashFold@AOL.COM>
Date: 19 Oct 1999 17:11
Subject: Re: The Origami Man

Does that make us "Origamistas" or "Origamii"?

Does anyone know the Japanese equivalent of the "chosen crease warriors"?





From: Doug Philips <dwp@TRANSARC.COM>
Date: 19 Oct 1999 17:24
Subject: Re: The Origami Man

"Hey, you valley fold sect extremists keep away from our purist mountain
majority!"

"Viva La Valley!"

"Mountains: The only folds worth making."

"Valleys Folders have more Verve!"

"Mountain Folders do it behind the back."

"Fold left to right, not near to far, its the One True Way"





From: Bernie Cosell <bernie@FANTASYFARM.COM>
Date: 19 Oct 1999 17:26
Subject: Re: [NO] gif editors

On 19 Oct 99, at 14:04, sychen@EROLS.COM wrote:

> Old 'Paint' program still can not read and write gif file.

Incorrect.  The 'paint' the comes with Win98 will read and write .gif
files just fine.

> --- Original Message ---
> Bernie Cosell <bernie@FANTASYFARM.COM> Wrote on
>         Tue, 19 Oct 1999 14:22:21 -0400
>  ------------------
> On 19 Oct 99, at 19:10, Donna & Robin wrote:
>
> > Does anyone know of a cheap of even free bit of PC software
> that will let me crop gif files? I don't need a full-blown graphics
> package for hundreds of pounds, I only want to reduce the borders
> on the gif files that VISIO generates (I do all my diagrams using
> VISIO).
>
> Just plain old 'paint' will do that just fine.

--
Bernie Cosell                     Fantasy Farm Fibers
mailto:bernie@fantasyfarm.com     Pearisburg, VA
    -->  Too many people, too few sheep  <--





From: "Askinazi, Brett" <brett@HAGERHINGE.COM>
Date: 19 Oct 1999 17:26
Subject: Re: The price of technical vrtuosity

Ok here is my bent.

I like models with the sticky-out bits. They look great, and have a decent
WOW factor.  Here comes the BUT.  Some of these models I look and say to
myself "God I'll never fold that again."  The folding sequences on some of
them are SO unpleasing that it takes the fun out of folding.

The ones I tend to fold the most are the ones that have a pleasing folding
sequence.  Complex, intermediate or simple doesn't matter as much as how
much enjoyment I get out of folding it.

Brett





From: Doug Philips <dwp@TRANSARC.COM>
Date: 19 Oct 1999 17:30
Subject: Converting Newcomers to origami (was: Re: The Price of Technical

Robin Glynn indited:

> What would be most likely to convert a newcomer to paper folding?
   ...
> I believe that one of the reasons Origami is not a more 'mainstream' activity
> is because people believe that the subject has too many limitations. A lot
> of people, myself included, were introduced to Origami way back when
> giraffes had 3 legs!

That is a very tricky question. I agree with the sentiment that showing the
range of the art/craft/hobby/whatever-you-want-to-argue-about-calling-it is a
good thing. "See, it isn't just cootie catchers and flapping birds, you can do
some REALLY COOL STUFF with a piece of paper and just a few dozen folds." On
the counterpoint, everytime I've done a folding demonstration/class where I've
had a range of models on display, everyone wants to do the really cool dragon
and not the boring <x>. ;-) At some of the events, the resultant
disappointment and perceived "long road until I can do _that_" has turned
people off (mostly kids, the adults often think anything is too hard for
them). :-(

I think modular origami might serve best to intice the newcomer/beginner. The
units are simple to master, the forms are dazzling to behold, and the jump
from Toshie's Jewel to Cube to Stellated-Hurts-My-Brain-Ahedra is just a
matter of developing the patience to fold a lot of units. There are not
usually sinks and wraps and twisty crimps involved. Yes, it can be tough, esp.
for kids, to have the patience to fold that many units, but it is easier to
ramp up to, than to master more complex manuevers which have to be done "all
at once," so to speak.

I generated the most interest in origami when I had modular models in my
office. The Dragons and animals and birds and ... all get oohs and aws, but
nothin' reached out and grabbed folks more than a few colorful modulars.

-D'gou





From: collin weber <coljwebwhs@HOTMAIL.COM>
Date: 19 Oct 1999 18:20
Subject: Re: Wet behind the ears

>From: Rob Hudson <FashFold@AOL.COM>
>Reply-To: Origami List <ORIGAMI@MITVMA.MIT.EDU>
>To: ORIGAMI@MITVMA.MIT.EDU
>Subject: Wet behind the ears
>Date: Tue, 19 Oct 1999 10:02:18 EDT
>
>Hello everyone!
>
>I'm finally here with a serious question, now that I've been flapping my
>fingers more than my gums.  I attempted wet-folding for the first time last
>night with elephant-hide paper with less-than-stunning results.
>
>I attempted Joisel's Rat for my first time, which might have been a
>mistake.
>I started by "misting" the paper with the bottle, then wiping it down with
>the sponge.   I continued in this way, spraying and wiping before folding.
>If the paper became too limp I just wiped it down with the sponge again.
>
>Towards the end of the model, the da*##$@ thing kept coming unfolded, and
>the
>tail unfolded itself.  I wasn't able to get in a good crimp-- seems i
>couldn't soak all the layers of paper enough.
>
>
>Any ideas? Tips?
>
>Rob

Where did you find diagrams for Joisel's rat and are any of his other models
diagrammed?

Thanks
Collin Weber

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





From: Meristein@AOL.COM
Date: 19 Oct 1999 18:47
Subject: Re: The Origami Man

"We only fold paper to the right in this county, mister!"

The Coalition for Right-Folding Folk
(Left-folders must be shown the error of their ways)





From: David Phillips <dphillips@RFDINC.COM>
Date: 19 Oct 1999 19:06
Subject: Re: FW: Question about Map Folding

What a delightful problem description (basically, how to fold a map for
greatest versatility and ease of use while on the roll).  Airplane pilots
certainly have a need for rapid reference to maps.  (Although that's
diminishing with growth in the use of moving map displays.)  The maps I
use are all zig-zag folded across the East-West direction; that is, the
mountain/valley folds run North-South.

Jeppesen (a highly popular supplier of aviation maps, particularly to
commercial pilots) has a nifty feature they call a "zigdex" to facilitate
finding a place on the map.  The top edge is cut at a slant, and in the
space revealed above the slant, which would be on the back or face of the
adjacent fold, there is a label indicating what that section of the map
covers.

My practice is to open to a book-like section -- that is, open with a
valley-fold facing me, between my hands -- where the area of interest
falls within the open "pages".  So I have one or more long vertical
sections in my left hand, and one or more in my right hand.  I then
mountain-fold the map in half and either use the North or South portions,
as needed -- an easy flip up or down.  When my course moves off a side
edge I un-mountain-fold the map and flip the "page" over,
re-mountain-fold, and continue.  If, sometimes, I want to maintain
continuity across a "page", I'll simply leave the previous "page" open as
well as the next one, and then work for a while with a wider map.

This method doesn't sound as elegant as the questioner describes, but it
has worked to keep me right side up.
  --David





From: Paul Jackson <Mpjackson@BTINTERNET.COM>
Date: 19 Oct 1999 19:34
Subject: A Reply to Ronald Koh

On Monday, October 18, 1999 12:07 PM, Ronald Koh asked me to clarify
three points to an earlier posting.  Here is my answer to his second
question (if I can summon up the time, I'll answer the
other questions at a later date).

> 2 How does the absence of clear goals and setting the imagination
free
> able to yield  origami of uncompromised beauty? Exactly what kind of
> origami are you referring to?

By 'uncompromised beauty' I mean that there is a fundamental schism
between the beauty of the folding sequence as a paper ballet, and the
beauty of the completed model as a static sculpture.  The two are
entirely different.  The beauty of the folding sequence must usually
be compromised in order to achieve a model, and the more detailed the
model the more the sequence must be compromised.  The late Eric
Kenneway once commented that he disliked folding sequences that ended
with 'a lot of rounding off and tucking in' because they were
anti-climactic, like a piece of music without a final chord or a play
with no dramatic ending.  In other words, the concept of the model
necessarily compromises the sequence.

It seems we have three choices if our origami is not to remain
compromised by this schism:

1  To concentrate only on the sequence, eliminating the concept of the
final model.  Maybe we start with an unfolded paper square and finish
with an unfolded square, having performed an exquisite paper ballet of
reverses, pivots, colour-changes, etc.  Or perhaps find a wondrous
'scenic route' from a Waterbomb Base to a Preliminary Base.  In this
way, origami becomes a pure, uncompromised sensual performance, purely
for the person folding.  I'd love to see our technical maestros turn
their great talents to this concept of a 'scenic route paper ballet'.
The climax -- as Robert Lang suggested -- would be to screw up the
paper at the end!

2  To forget the beauty of the sequence and concentrate solely on the
appearance of the final model.  In other words, not just to create
lumpy, wooden, lifeless exercises of technical virtuosity, but to
create stunning
models of spirit and character, regardless of method.  I suspect that
Yoshizawa works this way, and I know that Momotani does.
My own recent organic abstracts are made with this approach -- I try
to make them look as good as possible, but they're truly boring to
make.

3  To create a paper ballet of interest and beauty that leads not to a
recognisable model, but to an abstract form of beauty, that emerges as
a natural, uncompromised consequence of the sequence.  This is perhaps
a difficult concept to grasp.  To illustrate it, I'd like to invite
Thoki Yenn to put diagrams onto his web site of an abstract form he
showed me maybe 8 years ago, made by folding an edge to a diagonal,
then folding the square to a 1:root 2 proportion and finally creating
a lock with a reverse fold, to create an exquisite half arch form that
stood on end, half curved, half straight (Thoki, do you remember
this?).  The Chinese Junk is a better known example -- an amazing
scenic route sequence, thrilling climax and a near-abstract final form
that maybe kind-of resembles a Junk.  Perfection!

To me, the imagination is constrained by bolting together the separate
concepts of sequence and form.  To strive for one of the above 3
uncompromised approaches to folding would, in my opinion, free the
imagination and prevent us from torturing the paper as we try to
create one more stripe, one more set of toes, the correct number of
whiskers, or another sticky out bit.

Also, isn't it about time we maybe just TRIED to create something a
bit different, a bit risky, unexplored, esoteric, controversial,
foolish, thought-provoking?  What's all this conservatism about?
Isn't it the enemy of creativity?

Paul Jackson





From: Donna & Robin <robin@RGLYNN.KEME.CO.UK>
Date: 19 Oct 1999 19:36
Subject: [NO] Paint doesn't do it for me

It's quite right that paint can load and save gifs. It still doesn't help much
     because I cannot fit the whole image on the screen, and thought you can
     zoom in, you can't zoom out to see the whole image. I did change my screen
     resolution to 1600x1200 and t
 at just about displayed the whole image, but it's a bit of a strain on my poor
     eyes! Even then there is no 'crop' option. If I select the part of the
     image I want and choose 'copy to' then it doesn't give the option to save
     to a gif file! The only way wo
 ld be to move the selection to the top left and change the image attributes.

I will look into Paintshop Pro as an option, but I think it may be a case of
     overkill for what I want. And I believe the registration fee for the
     shareware is quite high. Version 6 was 99 dollars.





From: david whitbeck <dmwhitbeck@UCDAVIS.EDU>
Date: 19 Oct 1999 20:10
Subject: Re: Converting Newcomers to origami (was: Re: The Price of Technical

About hooking people: last spring I would bring my recent origami creations
in astrophysics.  Well one time the prof. was going on about his life of
all things and I took out my free sticky note pad I got from Borders and
folded a stellated icosahedron from the bird units.  Out of all those
models from elephants to insects it was the icosahedron that drove on one
of the students to fold.  Get that!  Most people might not necessarily want
to fold complex animals just as they don't want to fold simple animals but
I've seen quite a bit of interest in geometric solids.  I'm guessing it's
the 3d nature of the final product that they like.

David
