At full moon the sun is 180° away, and at midsummer, when sun is reaching his maximum, moon should likewise be equally distant. Such reflections could emerge from contemplating the phases of sun and moon.

The 'pyramid of branches' (paina) was built in summer. For full moon a similar structure would not be unreasonable. But that is not a matter of any importance for the moment.

Instead, the similarity between the two henua signs at bottom inside the oval should be contrasted with the arrangment in apex form at the top center (and outside) in *Ka1-20. At left is a henua but at right there is a 'thread'. The waning moon crescent is at left and what seems to be a bird of the dark new moon at right. When the sun light is vanishing there cannot be any henua sign, I think. Instead a 'thread' must be used.

In other words, the two henua signs at bottom of Omotohi can be contrasted with a similar arrangement at new moon, where henua is used as a sign at left (only for as long as sun is illuminating the waning moon). When moon no longer is illuminated, new moon has arrived, the opposite of full moon. Instead of an apex below the main character (the little person sitting down feasting), the new moon glyph has two characters in a low position relative to the apex form in the center.

The gagana bird must here refer to the dark new moon phase. Waning moon, apex, and gagana bird are horizontally ordered, while at Omotohi apex and feasting person are vertically ordered. Full moon is depicted inside, new moon outside.