Re: [Origami] The Aart of Paperfolding

[David Mitchell via Origami]

Most  of you know that my substack Life, Death and Paperfolding is written 
largely about aspects of paperfolding history. I don't post here every time a 
new blog post is released but just occasionally I like to let you know what's 
going on. Today I am delighted to tell you that Edwin Corrie has written a 
guest post (well, it's a digest of a longer post on his own blog) about the 
books and influence of Aart van Breda. If you would like to read it, you can 
find it here:

https://open.substack.com/pub/davidgrahammitchell/p/the-aart-of-paperfolding?r=341x4g_campaign=post_medium=web=true

Dave

Re: [Origami] The Workman's Hat

[David Mitchell via Origami]

Just thought some of you may be interested in my latest blog post 
https://davidgrahammitchell.substack.com/p/one-hat-to-fit-them-all

I had a great deal of help with this from Matthew Demarkos, who is an expert in 
all things connected to Lewis Carroll. He has posted a video on the on the You 
Tube site of the Lewis Carroll Society of North America about the same design, 
but largely giving different information,  which is well worth a watch. See 
https://www.youtube.com/watch?v=tO3rj67Esco

Dave

Re: [Origami] Moving origami model

[David Mitchell via Origami]

Andrew Hans  wrote:

> I remember years ago there was a rather simple model that when folded and 
> laid down it would rise up as the paper relaxed.

In case no-one else has already mentioned it,  this design is by Seiryo 
Takegawa (or Takekawa) and, In English, is usually known as the Magic Tipper. I 
don't know what the original Japanese title was.

Details of some places it can be found are on Gilad's site at 
https://www.giladorigami.com/origami-database/Magic+tipper+Takekawa%2BSeiryo

Dave

[Origami] Toot, Toot! Life Death and Paperfolding

[David Mitchell via Origami]

There are two new posts to read on my Life, Death and paperfolding blog.

The first is about the little known traditional design I call the Magic Hat ... 
which is well worth knowing about.

See 
the-strange-case-of-the-magic-hat

The second is about my Two-Way Magic Hat - a development of the Magic Hat which 
is extra fun to play around with.

See 
the-two-way-magic-hat

Please subscribe! This blog is free and always will be.

Dave

[Origami] Toot Toot - I've started a blog

[David Mitchell via Origami]

Just as blogs are going out of fashion I've decided to start one ...

'Life, Death and Paperfolding' will be an occasional blog about, well, life 
death and paperfolding, but mostly paperfolding, concentrating largely, but not 
exclusively, on interesting aspects of paperfolding history.

There are four posts to read so far and here is the link to the first of them 
https://davidgrahammitchell.substack.com/p/life-death-and-paperfolding from 
which you can easily find the others.

I hope you will enjoy reading it. Please subscribe!

Thanks

Dave

Re: [Origami] Box-pleating

[David Mitchell via Origami]

Robert Lang  indited:

>The quoted description from Kenneway is, IMHO, not a very accurate description 
>of the methods used by Elias (and Hulme, let?s not forget) that we now call 
>box-pleating. But, if I recall correctly, even Elias didn?t call his 
>techniques ?box-pleating? ? I think he used the term ?box-folding?.

Thank you. I was hoping you would jump in on this!

Kenneway does say that the technique is 'Sometimes called 'box-folding'' though 
he does not say that Elias used this term.

I also confess that, through laziness, I did not quote Kenneway's full 
description of the technique, which goes beyond the collapse of a 
concentrically creased square into a multiply sunk waterbomb base.

Kenneway says two things of historical interest. First he says that 'some of 
the earliest models created by this method included R Rohm's series of 'flowers 
in a vase'' and later says 'the technique itself derives from the two versions 
of the 'Jack in-the-box' devised by F Rohm and N Elias in 1963'.

One version of Rohm's flower in a pot was mentioned, and pictured, in Vol 3: 
Issue 2 of the Origamian for Spring / Summer 1963. Another, called 'Star 
Flowers' was diagrammed in Sam Randlett's 'The Best of Origami', also published 
in that year. I'm not convinced that either of those are 'box-pleated' designs.

The diagrams for Mooser's Train, however, included in your ODS, are dated 1967. 
Do you know the date when this design was created rather than diagrammed? Was 
it fresh off the folding table at that time or had it been around for some 
years already? I can't find any mention of the design elsewhere in the 
literature at an early date.

There are plenty of images of pleated designs, and a waterbomb base, In 
'Trattato delle piegature', but I cannot see anything that looks, to me, like 
the 'Elias stretch'. On the other hand I'm not sure I know what the 'Elias 
stretch' is ...

I still think that it would probably be more accurate to say, as Kenneway does, 
that Elias made frequent use of/developed the technique rather than originated 
/pioneered it.

Dave

Re: [Origami] Box-pleating

[David Mitchell via Origami]

Under the subject 'Folding Legend and Joisel Award - Join our free event', Ilan 
Garibi wrote:

'Neal Elias can be considered the creator of the modern box-pleating technique'

I think this assertion is worth discussing. According to Eric Kenneway's 'ABC 
of Origami', BOS booklet 47, box-pleating is 'a creative folding technique 
pioneered by F Rohm and developed by N Elias'.

Kenneway explains that the crease pattern that results from 'box-pleating' is a 
'multiple water bomb base or preliminary base' ie a series of concentric 
waterbomb bases or preliminary folds set inside each other, which can then be 
collapsed to form the base that Elias and others used to create designs for 
human figures.

The question then arises as to whether 'the modern box-pleating technique' is 
something entirely different. On this definition Mooser's Train, for instance, 
would not be an example of 'box-pleating', although it is effectively made from 
a series of pleated boxes.

Thoughts, anyone?

Dave

Re: [Origami] Where does the comparison between origami and music come from?

[David Mitchell via Origami]

Gerardo wrote:

>There's a reference to folding and music in an essay by Tolstoy titled What is 
>Art? Wow! What does it mention in regard to both?

This needs some clarification:

In their article 'Leo Tolstoy and the Art of Origami' in British Origami 186 of 
October 1997, Misha Litvinov and Sergei Mamin quote, presumably in translation, 
from the first draft of Tolstoy's essay 'What is Art?' (Leo Tolstoy - The 
Complete Works, v.30, Moscow, 1951), 'This winter a lady of my acquaintance 
taught me how to make cockerels by folding and inverting paper in a certain 
way, so that when you pull them by their tails they flap their wings. This 
invention comes from Japan. Since then I have been in the habit of making these 
cockerels for children.' And 'The person who invented these cockerels must have 
been enchanted by his own discovery, and the joy is transferred to others. And 
that is why the making of a paper cockerel, strange as it may seem, is real 
art. I cannot refrain from observing that this was the only new work in the 
sphere of paper cockerels that I have encountered during the last sixty years. 
At the same time, the poems, novels and musical opuses that I have read during 
the same period run to hundreds, if not thousands. This is because cockerels do 
not matter, you might say, whereas poems and symphonies do. But I think the 
reason lies in the fact that it is much easier to write a poem, paint a 
picture, or compose a symphony than to invent a new cockerel.' 

Unfortunately these passages did not make it into the final published version 
of the essay. See https://www.gutenberg.org/files/64908/64908-h/64908-h.htm

As you can see Tolstoy does not make any comparison between the process of 
folding and that of playing music.

The statement that 'These cockerels come from Japan' is dubious and probably 
ultimately derives from the 1885 article in La Nature. 

If you want more info about Tolstoy's cockerels you can find it in the entry 
for 1888 at https://www.origamiheaven.com/historyoftheflappingbird.htm. 

Dave

Re: [Origami] The Sosaku Origami Group '67

[David Mitchell via Origami]

Lorenzo lorenzo.luci...@gmail.com wrote:

>The author of this book is a "Creative Origami Group '67".
>Do you know anything about this Group?

There is a page on my site about this group at David Mitchell's Origami Heaven 
- History - The Sosaku Origami Group 
'67 which 
contains further information to that given by David Lister in the article 
previously referred to.

Dave

Re: [Origami] Name of the puzzle purse in Spanish?

[David Mitchell via Origami]

Karen Reeds  wrote:

>You set us all a good example by carefully documenting the names/creators of 
>models as much as you can, but I have to agree with Dave's pessimistic 
>conclusion.

Pessimistic? Realistic, surely ...

It's perhaps worth pointing out that in The Public Paperfolding Project I have, 
of necessity, given every 'traditional' design (or at least every 'traditional' 
design that occurs several times in the literature) a standard name (or 
sometimes two standard names if it is, for instance, 'traditional'  in both 
Japan and Western Europe / The Americas). Of course, I chose these standard 
names myself, mostly in English but sometimes in other languages, but I hope 
that having a standard name for each design will make referring to them and 
talking about them easier.

Dave

[Origami] Name of the puzzle purse in Spanish?

[David Mitchell via Origami]

gera...@neorigami.com wrote:

>I must confess I linked David's webpage but had not read it... oops

Bad boy!

I think we must also be careful not to believe that' traditional' designs 
necessarily had a 'traditional' name.

'La bolsa', for instance, is a title (in Spanish) that only appears once (as 
far as we know) for a design that only appears once in a Spanish book (as far 
as we know, prior to 1970).

Many 'traditional' designs have multiple names in the literature, multiple 
names, that is, in the same language, not just in different languages.

So deciding what a design should properly be called is difficult, if not 
impossible ...

Dave

Re: [Origami] Origami6

[David Mitchell via Origami]

Someone has kindly helped me with this now!

Many thanks

Dave

-Original Message-
From: David Mitchell 
Sent: Tuesday, May 16, 2023 9:28 AM
To: origami@lists.digitalorigami.com
Subject: RE: Origami6

If anyone possesses a copy of Origami6 and would be willing to help me access 
some information from it regarding paperfolding history I would be extremely 
grateful.

Please respond privately.

Thanks.

Dave

Re: [Origami] Origami6

[David Mitchell via Origami]

If anyone possesses a copy of Origami6 and would be willing to help me access 
some information from it regarding paperfolding history I would be extremely 
grateful.

Please respond privately.

Thanks.

Dave

Re: [Origami] 'Modular origami article for Wikipedia'

[David Mitchell via Origami]

Thanks to those of you who have contacted me off list about this subject. Here 
is a first draft of an article which takes into account your suggestions.

I would like to add more about the work of Tomoko Fuse, but the difficulty is 
that she has written so many books and developed so many designs that I am 
rather spoilt for choice. Please let me know which of Tomoko's designs and 
books you particularly think ought to be mentioned. Thank you.

You will see that I have mentioned a few of my own designs as well ...

I haven't populated the section about books as yet. Suggestions please!

I haven't added any references as yet.

Do you think this is sufficiently accurate and comprehensive or not? What needs 
adding? What needs taking away?

PS I take the list in digest form so responses won't be immediate!

Dave

Article begins

Introduction:
Modular origami is a two-stage paperfolding technique in which several, or 
sometimes many, sheets of paper are first folded into individual modules, or 
units, and then assembled into the final form of the design. 

Modular origami can be used to make both very simple and very complex forms. It 
can be used as a sculptural medium and to create action designs and toys. 
Modular origami is also of practical use in making polyhedral models.

It is not necessary for all the modules used in making a design to be 
identical, although they often are.

In Japan, modular origami is called yunnito origami (unit origami), a term 
invented by Kunihiko Kasahara.

The two stages of folding and assembling the modules are not always completely 
separate. Sometimes  the folding of the modules continues after they have been 
assembled.

There is a related technique which also combines folded paper modules (of one 
particular kind only) to create (mostly) representational designs which is 
known as 3D Origami, Chinese Modular Origami or Golden Venture origami.

History: 
In Japan, a modular cube called the 'Tematebako' (treasure chest) appears in a 
print in the book 'Ranma Zushiki' by Hayato Ohoka, which was published in 1734. 
It is thought to have been made from six modules, each of which is a Thread 
Container provided with tabs by means of cuts.

In Western Europe a cube made by interlocking six folded playing cards, and 
usually therefore known as the Playing Card Cube, appears in a print from 1759, 
and fairly regularly thereafter.

Despite these, and a few other, early examples, modular origami was not 
recognised as a distinct paperfolding technique until the 1960s.

In the USA, the earliest published diagrams are for a two-piece ornament by 
John M Nordquist, from 1963, followed by diagrams for a two-piece 'Diamond' 
ornament by Betsy Kitsch, from 1964, and a series of two and three-piece 
designs of similar style by Molly Kahn in 1966.

The most important impetus to the development of modular origami in this 
period, however, came from the publication of diagrams for a 'Color Box', a 
cube made from six identical modules, by Mitsunobu Sonobe, in 1968. Other 
Japanese paperfolders quickly realised that by combining other numbers of 
Sonobe modules, with only minimal alterations to the design, a much wider range 
of forms could be achieved. Kunihiko Kasahara in particular also developed 
bi-colour variations of the module. By this time there was frequent interaction 
between paperfolders in Japan and elsewhere in the world and knowledge of this 
module and its possibilities soon spread widely.

Thereafter paperfolders in both Japan and the USA began to explore the wider 
possibilities of the modular origami technique and designs proliferated 
quickly.Ethics:

Ethics:
Modules are essentially individual single-sheet paperfolds and the same ethical 
considerations about cutting and decoration, their avoidance of their use, 
apply to them as apply to other single-sheet paperfolds.

It is generally considered that modular assembles should hold together without 
the need for glue, tape or thread, but this opinion is not universally held.

In the Japanese tradition, modular assemblies which resemble traditional 
kusudama (hanging balls of foliage or flowers) are frequently decorated with 
tassles. They are often also glued, or sewn, together.

Forms: 
Modular assemblies come in many different forms, mostly, though not 
exclusively, geometrical in nature, including:

Two-dimensional (flat) polygons, rings, stars, and rotors.

Two-dimensional mats (sometimes known as quilts) which are in theory infinitely 
extensible in all directions.

Bowls, boxes and other containers.

Polyhedra models. These come in many varieties. They may have flat faces, or 
have faces that are either dimpled (faceted inwards) or pimpled (faceted 
outwards), have faces missing, or have a combination of any of these.

Modular sculptures. These are designs based upon an underlying polyhedral form 
which have been developed to produce a sculptural form. Modular sculptures that 
resemble balls of flowers are often 

Re: [Origami] 'Modular origami article for Wikipedia'

[David Mitchell via Origami]

So ... maybe the first thing to think about is what sections such an article 
should be divided into.

Here are my suggestions. Please offer yours ...

Definition: What is modular origami?

History: How did modular origami come to be?

Forms: What categories of designs can you make using the modular origami 
technique?

Assembly systems: What are the various ways in which modular origami designs 
hold together?

Surface Patterns: Using both sides of the paper to produce patterns on the 
surface of the design.

Some well-known designs: Brief details of a few classic modular origami designs.

References: Seems essential on Wikipedia.

Do you agree with these? Are there any important aspects of modular origami I 
have forgotten?

Dave

Re: [Origami] Common paper for friction-based modulars?

[David Mitchell via Origami]

Laura R  wrote:

>I?ll be happy to help editing that Wiki entry. I contribute that way with Wiki 
>from time to time fixing what my scatologic husband calls Wiki text poop. As 
>I?m not a modular expert and my English is not perfect, I will need the text 
>to replace that part. You can communicate with me as usual.

Yes, indeed. However, I think there must be lots of people on this list who 
regularly fold or create modular origami designs ... and perhaps it would be 
good to have everyone's input into what such a page should say?

I'm willing to start and maintain the discussion ... and eventually produce a 
draft. If you are putting it on Wikipedia I guess you have the final editorial 
say as to what you upload. (Then lots of people who are less expert than all of 
us can edit it to bits. But that's how Wikipedia works ...)

With that in mind I'm going to rename this part of the discussion as 'Modular 
origami article for Wikipedia'

Dave

Re: [Origami] Common paper for friction-based modulars?

[David Mitchell via Origami]

"gera...@neorigami.com"  wrote:
 
>Most boxes and lids also benefit from friction

Ah, yes, some modular designs may indeed 'benefit from friction' (and I agree 
that the Butterfly Ball is a good example of this) but this does not 
necessarily make them 'friction-based'.

The distinction is important, I think. The Wikipedia article on Modular Origami 
says 'When modules are put together, most are supported only by the friction of 
paper' which is entirely untrue. See 
https://simple.wikipedia.org/wiki/Modular_origami. Actually this is possibly a 
candidate for the most inaccurate article on Wikipedia ... 

(If anyone who is good at editing Wikipedia articles would like to work with me 
on writing something better please get in touch!)

>Now, I wish to remind everyone my question: What popular paper in the origami 
>community is good for models that benefit from friction?

Unfortunately I have no idea. I always make designs that need the benefit of 
extra stability from ordinary photocopy paper. It seems to work a treat ...

Dave

Re: [Origami] Common paper for friction-based modulars?

[David Mitchell via Origami]

"gera...@neorigami.com"  wrote:

>In his answer, Dave Mitchell asked me to explain what I mean with 
>"friction-based modulars".
>Maybe there's another name for that, but I'm referring to modulars which units 
>stay together thanks to the friction generated between them.

I asked because it's not a category of modular designs with which I am familiar.

I can only think of one three-dimensional design ... Paul Jackson's Cube ... 
which stays together because of friction. The others I can think of all seem to 
stay together because bits of them are bent at angles around other bits, either 
inside pockets or outside other layers. I suppose you could consider that a tab 
might not slide out of a pocket because of friction but it seems to me that is 
secondary to the more mechanical element of the design.

Some two-dimensional designs ... which I am much less expert at ... may fall in 
your category, perhaps. I am thinking of things like my 5-part Pentagram in 
which the modules are pushed together in the centre and hold because they all 
wedge up against each other.

Is that what you were thinking of?

Dave

Re: [Origami] Common paper for friction-based modulars?

[David Mitchell via Origami]

gerardo(a)neorigami.com asked:

>What very common paper in? the origami community do you recommend for 
>friction-based modulars?

Can you explain what a friction-based modular is?

Dave

Re: [Origami] . Peter Engel & Xiaoxian Huang, online guest speakers at Museo del Origami

[David Mitchell via Origami]

Hi Laura

This sounds exciting.

You didn't say what language these lectures are in ...

Dave

Re: [Origami] early Victorian-era "kirigami" -- LADY CULLUM?S PUZZLE HEARTS

[David Mitchell via Origami]

Karen Reeds wrote:

> I spotted these lovely examples of cut-paper Woven Hearts  in an antiquarian 
> bookdealer's announcement:
>https://www.pickering-chatto.com/PC/Images/Puzzle_Hearts.jpg

Hi Karen

A date of 1830 seems a little early for these hearts. The one on the lower 
left, commonly known as the Woven Heart, is said to be a discovery of Hans 
Christian Andersen. What is said to be the earliest surviving example is 
preserved in the Hans Christian Andersen Museum in Odense, Denmark. See, for 
instance, http://hjemmesider.diku.dk/~torbenm/hearts.pdf. I have not been able 
to verify this information.

The one on the right is an example of what I call Cut and Fold Chevron Designs 
- see https://www.origamiheaven.com/historyofthechevrontrellisandcross.htm - 
and the earliest evidence I otherwise have of this type of design is from 1863.

If the date is genuine it clearly takes the origin of these designs back a few 
decades. However the evidence of the photo, which appears to only shows part of 
the writing on the envelope, seems inconclusive. Presumably the bio you quote 
came from a catalogue? If so I wonder f you could please share the link to that?

Dave

Re: [Origami] Help with translating the titles of some traditional Japanese designs

[David Mitchell via Origami]

As most of you will know, with a lot of help from a lot of friends, I am 
attempting to collect and make available on-line as many sources bearing on the 
history of paperfolding as I can. This information is then being made publicly 
available as part of the Public Paperfolding History Project which you can find 
on my website at https://www.origamiheaven.com/historyindex.htm.


I have recently managed to locate quite a few early Japanese kindergarten text 
books online in the National Diet Library and it would be helpful to know what 
they say. I normally rely on Google Lens, which is pretty good (I think!) at 
translating kanji, but doesn't seem to be able to cope with the other Japanese 
alphabets. As a result, while I can read the main text of these books I can't 
read the names of the designs, which seem to be written in what I think is 
hiragana. It would be really useful to know what these designs are properly 
called!

So ... this is an appeal for help! If you are interested in paperfolding 
history ... are reasonably fluent in Japanese ... can read hiragana ... and 
have a little time to spare to help, I would love to hear from you ... 
privately, of course!

Dave

Re: [Origami] Sam Randlett

[David Mitchell via Origami]

I am wondering if Sam Randlett is still alive ... and if he, is whether anyone 
is still in communication with him or knows how he could be reached.

I haven't heard of his death, so very much hope he is still with us!

Dave

Re: [Origami] 1935 book Origami moyo? / by Kawarasaki Kodo cho --

[David Mitchell via Origami]

Karen Reeds  wrote:

>Here's a visual treat: a digitized copy of a beautiful accordion-fold origami 
>book from 1935, now in the Tress Collection, University of Pennsylvania 
>Libraries, Philadelphia. The curator, Lynne Farrington, tells me that only a 
>small part of the collection has been fully catalogued and even less digitized 
>so far, so there may well be more origami.

It would be great to see more of the Tress collection digitised.

Digital copies of both Origami Moyo volumes ... in a larger format ...  are 
however already available in the Pulverer Collection ... see 
https://pulverer.si.edu/node/787/title?f%5B0%5D=dateNormalized%3A1935

(Incidentally I have looked through the entire Pulverer collection and taken 
copies of all the prints relating to origami, of which there are many. Not all 
of these are yet integrated into the pages on my site, however.)

>For much more about Origami moyo?, Books One and Two, see David Mitchell's 
>invaluable posts at Origami Heaven:
 http://www.origamiheaven.com/historyorigamimoyobookone.htm
https://www.origamiheaven.com/historyorigamimoyobooktwo.htm

Hmmm ... yes. I have recorded what I know, or can find out, about Origami Moyo 
... but the pages still need a lot of work. If anyone can help identify the 
designs, or anyone who speaks Japanese can help me add further information 
about the page titles, that would be great. 

Incidentally, Origami Moyo was known to Gershon Legman in 1952 and was included 
in his bibliography.

Dave

Re: [Origami] Jack J Skillman

[David Mitchell via Origami]

Matthew Green  wrote:

>Ancestry has records for the death of a war veteran named Jack James Skillman 
>who was born on May 30, 1915, and died on December 12, 1977. That matches your 
>info. 

Thank you. Several people drew this to my attention ... and with that date of 
death I was able to find his brief obituary in The Origamian Vol 13 Issue 4 
(which confirms the date and therefore that we have the same person here).

If you are interested, you can find my updated page at 
https://www.origamiheaven.com/historyjackjskillman.htm

This is still surprisingly little information to have about such an important 
and influential paperfolder ... 

Dave

Re: [Origami] Jack J Skillman

[David Mitchell via Origami]

I am trying to improve my page about the paperfolding of Jack J Skillman 
(https://www.origamiheaven.com/historyjackjskillman.htm) and in particular to 
find out if anyone knows where and when he died (he was born in 1915 so would 
now by 107 if he were still alive) and whether, and if so where, any obituary 
for him was published.

Any help you can give me will be much appreciated.

Thanks

David Mitchell

Re: [Origami] Locust in Kan-no-mado?

[David Mitchell via Origami]

Gerardo wrote:

>Now I'm wondering if Kasahara named the model "cicada" in Japanese, but was 
>translated to "locust" in the English-language Creative Origami. Would there 
>be a way to know? Do any of you know of Japanese diagrams for Kasahara's 
>model? Was Creative Origami originally in Japanese or is the English-language 
>version the original one?

As far as I know Creative Origami was never published in Japanese. 

It seems, like many of Isao Honda's works, to have been a book written 
primarily for the USA market. 

Kasahara speaks good English so it is possible that he wrote the English 
himself. I suppose the only way to know would be to ask him directly.

Japan Publications Trading Co Ltd is an interesting company about whom I would 
like to know more, particularly in regard to their relationship to the Japanese 
government, specifically the Ministry of Foreign Affairs. As you know the MOFA 
arranged / sponsored many of Yoshizawa's trips abroad and I suspect they may 
also have encouraged publication of English language origami books as a way of 
promoting Japanese culture in the West (ie as political / cultural propaganda). 
Hmmm ... I can't prove this. I simply suspect it!

Dave

[Origami] Locust in Kan-no-mado?

[David Mitchell via Origami]

Gerardo asked:

>I read in Creative Origami by Kunihiko Kasahara, that his model Locust was 
>based on the locust in Kan-no-mado. Now, if I'm not wrong, its pages only have 
>traditional models. But I had never heard of a traditional origami >locust 
>before. Kasahara's model is somewhat similar to the traditional cicada 
>instead. Do any of you know if Mr. Kasahara is calling "locust" to the 
>traditional model many of us know as "cicada"? Is the cicada model often >also 
>acknowledged as a locust? Or are they two different traditional models?

I'm sure that Kasahara was referring to the cicada from the Kan no mado, but 
just using a different name. As far as I know we call it the Cicada because 
that was the name used in Julia and Martin Brossman's 'A Japanese Paperfolding 
Classic' which translated the Starr copy of the Kan no mado ms into English. I 
don't know whether the original Japanese name can bear both translations.

More instances of similar designs can be found on my page 
historyofthekabutobasecicada.htm.

Incidentally, I call it the Kabuto Base Cicada simply to distinguish it from 
another traditional Japanese cicada design historyofthecrossovercicada.htm

Dave