Chinese style-new Chinese style, Chinese classical style.
Japanese-Japanese
Modern style-modern simplicity, modern avantgarde.
Postmodernism-neoclassicism, elegance
European classical style European classical style pursues continuity in space, changes in modeling and layering. Indoor and outdoor colors are bright, and light and shadow are changeable. Indoor wallpaper, carpets, curtains, bedspreads, curtains and classical decorative paintings or objects are often used; In order to reflect the gorgeous style, furniture and doors and windows are painted white, and the lines of furniture and picture frames are decorated with gold thread and Phnom Penh. Classical style is a kind of European classicism that pursues gorgeous elegance, which reveals nobility in elegance and luxury in depth, and has strong cultural feelings and historical connotations.
Baroque and Rococo European classical architecture has a long history. After the baptism of classical architecture in ancient Greece and Rome, the decorative style of stone buildings with columns, arches, mountain flowers, door damage and sculpture as the main components was formed. After the Renaissance, the artistic styles of Baroque and Rococo played a vital role in the evolution and formation of European architectural interior decoration styles.
France and Britain are two typical schools of interior decoration.
Baroque style is vigorous and powerful, emphasizing the characteristics of linear flow change while using straight lines. This style has
Too much decoration and rich effects. Interior painting, sculpture and craft focus on decoration and display art, walls
The surface decoration mainly displays exquisite French tapestries, and at the same time, it is inlaid with large mirrors or marble, or has overlapping feet.
Wooden wrapping boards decorate the walls. Cat feet furniture with gorgeous colors and coordination with gold, coordination with straight lines and curves, and
The use of other decorative techniques constitutes a solemn and luxurious atmosphere indoors.
Rococo style developed in Europe after Baroque style. Rococo style is characterized by its unbalanced light fiber.
It is famous for its slender curves, and the interior decoration introduced to Europe from China and India also has an influence on it. The word "rococo" comes from
The rockery "Locayou" made of shells and rocks in the French court garden was mistakenly called "Rococo" by the Italians and spread.
Let's go It is characterized by using the curves, wrinkles and curved shapes of shells for modeling and decoration, which is cumbersome and gorgeous.
The colorful features and wide use of China grass-rolling patterns have a decorative effect of lightness, fluidity and outward expansion.
Effect.
The French style we are talking about now refers to the rococo style formed in the period of Louis XV in France in the18th century.
The style that the Lord has been continuing. Large radian shape, flowing feeling, white wallboard, gold decorative line, supplemented by light blue and rose red.
Decoration constitutes a rich and luxurious indoor space effect. British style refers to the Stuart period in England in the17th century.
Baroque style is the main style that has survived. Solemn and heavy linear change modeling, deep chestnut decorative wallboard,
Decorated with Lan Qing and dark green fabrics, it constitutes a dignified and quaint indoor space effect. Mediterranean style Mediterranean style has unique aesthetic characteristics. Generally choose natural and soft colors, pay attention to space collocation in combination design, make full use of every inch of space, integrate decoration and application, avoid triviality in combination collocation, appear generous and natural, and exude ancient and noble pastoral atmosphere and cultural taste; Its unique Roman decorative lines are simple and lively, revealing ancient civilization. In the use of color, soft and elegant light tones are often chosen to reflect the original meaning of its pastoral style. The Mediterranean style mostly adopts arched glass with a long history, adopts soft light, and combines the furniture of logs to present an interesting local style with modern technology. American country style American country style attaches great importance to the natural comfort of life and fully shows the simple atmosphere of the country. Fabric is a very important application element in American country style, natural cotton and linen are the mainstream, and the natural feeling of fabric can be well coordinated with country style; All kinds of complicated flowers and plants, beautiful exotic customs and vivid patterns of birds, insects and fish are very popular and comfortable. Rocking chair, small floral cloth, wild flower potted plant, wheat straw, fruit, magnetic disk, wrought iron products, etc. They are all common things in the pastoral style space. China style is represented by traditional furniture in China, garden architecture and color design in China in Ming and Qing Dynasties. It is characterized by simplicity, symmetry, strong cultural flavor, elegant style, high aesthetic taste and social status symbol.
The new Chinese style mainly includes two basic contents: one is the interpretation of the cultural significance of China's traditional style in the current era background; One is the contemporary design based on a full understanding of China's contemporary culture. The new Chinese style is not a simple accumulation of elements, but a combination of modern elements and traditional elements through the understanding of traditional culture, creating something rich in traditional charm with the aesthetic needs of modern people, so that traditional art can be properly reflected in today's society. The new Chinese design has evolved the original functions of Chinese furniture and made comfortable changes on the basis of form. For example, the original painting case is now used as a dining table; The original double sofa is now used as a three-person sofa; The original long table is now used as a TV cabinet; A typical medicine cabinet is a cabinet for storing small clothes. These changes make the use of traditional furniture more diversified and interesting. Chinese classical style Chinese classical style interior design absorbs the "shape" and "spirit" characteristics of traditional decoration in terms of indoor layout, line modeling, color tone and furniture and furnishings modeling. For example, absorb the composition and decoration of traditional wooden frame buildings in China, such as algae wells, ceilings, suspension and sparrows, and clarify the modeling and style characteristics of furniture. Chinese classical style often gives people the feeling of historical continuity and hell context, which makes the indoor environment highlight the image characteristics of national cultural origin. China is a multi-ethnic country, so when it comes to Chinese classical style, it actually includes national style. Different ethnic groups have formed unique forms and styles due to different regions, climates, religious beliefs, local building materials and building methods, which are mainly manifested in layout, shape, appearance, color, texture and treatment methods.
The main characteristics of Chinese classical style are: taking wood as the main building material, giving full play to the physical properties of wood, creating a unique wooden structure or bucket-through structure, paying attention to the principle of frame system, standardizing building components, paying attention to plane layout, organizing space by using courtyards, dividing space by decorative components, paying attention to the coordination between environment and architecture, and being good at creating atmosphere with environment. Use color decoration means, such as color painting, sculpture, calligraphy, arts and crafts, furniture furnishings and other artistic means to create artistic conception. Japanese style and rooms have a unique charm, which can show a peaceful artistic conception. Different from European and American decorative styles, metal is rarely used. From top to bottom are the most natural and simple materials, mostly logs, mats, bamboo and so on. At the same time, try to keep the primary colors unadorned. Tatami is a symbol of harmony. In Japan, tatami is mostly straw mat, made of straw and straw, while our modified tatami is mostly wooden floor.
The doors and windows of Harmony Room are wide and transparent, and the furniture is low and few, giving people a spacious, bright and refreshing feeling. Therefore, harmonious living room is still a common method to expand the vision of living room. If a harmony room is separated from the corner of the living room, its wall can be used as a showcase for displaying works of art, so that people's eyes can penetrate between the living room and the harmony room, forming a wonderful picture. When it is needed as a bedroom, just close the curtains and it will become an independent space.
Generally, Harmony rooms use wooden floors as tatami, so the bottom of the wooden floor becomes a very good storage place. You can collect a lot of out-of-season electrical appliances by lifting the lid, or set up drawers under the floor near the sliding door in the room to place sundries, which looks bright and comfortable. If the harmony room is used as a studio, it can also be used to hide the power cord and make the whole harmony room look close to perfection.
Traditional Japanese-style home uses a lot of natural materials in the decoration of rooms, does not advocate luxury and grandeur, takes elegance, moderation and profound Zen as the realm, and attaches importance to practical functions.
Matching rules: low-key, concise, neat and natural low-key: a harmonious room is separated in the corner of the living room to form a wonderful picture. When it is needed as a bedroom, just pull the partition door and it becomes an independent space. The doors and windows of Harmony Room are mostly simple and transparent, and the furniture is low and few, giving people a spacious and bright feeling. Therefore, a harmonious room is also a common method to expand the room's vision. Simplicity: Japanese homes emphasize the quietness of natural colors and the simplicity of modeling lines. In addition, influenced by Buddhism, the bedroom layout also pays attention to a kind of "Zen", emphasizing the harmony between nature and people in space, and people will feel a kind of "lightness" when they are in it. Neat: The Japanese are very particular about the furnishings of household items, and everything is cool. This seems to have such a deliberate taste, but you have to admit that this deliberate creation has brought the beauty of their culture to the extreme. Nature: In the Japanese style, the status of courtyard is very high, which has become the theorem of mutual reflection between indoor and outdoor. There are also flower arrangements, which should be placed in every corner of the house, and lose no time. It is not difficult to understand why even the placement of tea cups or the corner of a bathroom should be accompanied by flower arrangement, and the echo of color and shape is indispensable.
Elegant and quiet Japanese-style room, simple decoration style, natural green building materials such as wood, bamboo and paper are used in the room, and several pieces of square furniture show the owner's quiet and far-reaching mentality.
In Japanese home decoration, tatami with straw fragrance, camphor paper with hazy breath and patio with strong natural feeling run through the design layout of the whole room. Natural materials are the most distinctive part of Japanese decoration.
Comfortable tatami
Tatami is made of straw and rushes. When making, the straw is pinched and the tail is removed, the middle part is dried at high temperature to kill insects, and then put into a high-temperature box for reabsorption, so as to reach the water content close to the natural environment and increase the toughness of the straw. Therefore, as the middle layer of tatami, it has a faint fragrance and a comfortable and cool feeling.
The bottom layer of tatami should use thick insect-proof paper. The middle layer is covered with a layer of natural handmade rush mat, and the three layers of materials are wrapped with cloth. The standard thickness is 55 cm, and the size is customized according to the room size.
Tatami can't be directly laid on the ground, and it's best to put it on a platform with a height of 10- 15 cm, which can mainly achieve the effect of sound insulation and cold insulation, and can also be decorated in a zigzag, field-shaped and symmetrical pattern.
Translucent zhangzimen
Like tatami, push-pull wooden lattice doors are also an important part of Japanese homes. The reason why the eldest son door is light and thin is because the wooden frame is made of paulownia, and the glass is replaced by translucent camphor paper in the middle of the wooden lattice. Camphor paper can also be used for windows, which is characterized by toughness, not easy to tear, and waterproof and moisture-proof functions. The patterns are also exquisite, such as bamboo and thousand cranes. Against the backdrop of outdoor light, they exude elegant and hazy beauty, which is really beautiful. Zhangzimen is also named after the beautiful Zhangzimen paper.
A terrace with a natural atmosphere
There are two main forms of patio called suspended ceiling: flat roof built of logs and inclined roof arranged of solid wood. In Japan, the ceiling is usually decorated with solid wood, showing the characteristics of elegance and luxury. In China, veneer is mostly used as raw material, and all kinds of veneer such as white oak, beech and Sabili can be selected according to the overall tone. You can also use innovative decorative materials-bamboo mats as ceilings to create a natural and quaint style. Beautiful and practical harmonious table
Tables and chairs are the most important indoor furnishings. There are two kinds of tables: lifting and ordinary. The height of the telescopic table of the lifting platform is an "improvement" suitable for people's living habits in China. However, it should be noted that if such a lifting platform is placed, the height of the platform should be raised by at least 30 cm.
The table in the common room is not only exquisite in appearance, but also very practical. This table is movable. When it is cold in winter, you can take down the desktop, install a matching heater on the wooden frame that supports the desktop, and then cover the desktop with a blanket, thus creating a warm space.
In addition, Japanese people have sky bags and floor bags at home, which are equivalent to the hanging cabinets and low cabinets of ordinary families in China. The height is generally about 40 cm, which can be selected according to the function of the room.
The most harmonious decorated bedroom.
The bed room consists of three parts: bedstead, bedpost and bed pendant, which mainly plays a decorative role. It is an important part of Japanese family and one of the symbols of Japanese family. In Japan, the shrine was first placed on the bed, and later it gradually evolved into hanging words, paintings and handicrafts. The bedpost is the most exquisite part of the bed room, made of tree trunks, and specially reserved scars and knots. Next to the bed room is a bed, which consists of a tent and a decorative shed. Handicrafts with Japanese traditional culture colors can be placed, such as Japanese dolls, samurai with knives, paper fans, etc. Let the elegant and natural harmony room be more emotional. Modern Style Modern style originated from the Bauhaus School established by 19 19. Under the historical background at that time, the school emphasized breaking through the old tradition, creating new buildings, paying attention to function and spatial organization, paying attention to the formal beauty of structural composition itself, being concise in modeling, opposing redundant decoration, advocating reasonable composition technology, respecting the performance of materials, and paying attention to the texture and color configuration effect of materials themselves, so as to develop non-traditional functional layout. Bauhaus school attaches importance to the actual craft production and emphasizes the connection between design and industrial production.
Gropes, the founder of Bauhaus School, said: "The concept of beauty changes with the progress of thought and technology." "There is no ultimate in architecture, only constant reform." "Modern architectural technology cannot be obliterated in architectural performance, and an unprecedented image should be applied in architectural performance." Outstanding representatives include Corbusier and Vanderro.
As for how to embody modern style in interior creation, Gropes has a famous saying: "Develop new architectural forms from the aspects of the use function, new materials and structural methods of houses." Before the interior design activities. The architect has given the building a style space. What we have to do is to extend its certain quality, and then to complete its quality expression, we can start with the functional requirements of new materials and their users. If the form obeys the function, opposes the application of historical style, denies the traditional style and abandons the additional decoration of the building, it is believed that beauty lies in the proportional balance and performance in the combination of space capacity and volume.
Modern style is also called function-oriented style because it puts function first, and it is also called international style because it is popular all over the world. Because it ignores the artistry, locality and nationality of design, it is easy to lead to the same form.
Modern style is a popular style, which pursues fashion and trend, and pays great attention to the perfect combination of room space layout and use function. Modernism, also known as functionalism, is the product of industrial society, and the earliest representative is Bauhaus School built in Weimar, Germany.
Its theme is to create a mechanical environment that allows artists to accept modern production with minimal efforts. This concept of technical aesthetics is the biggest revolution of interior decoration in this century.
Today, most of our indoor articles or decorations, such as lamps and furniture, are industrial products produced by factories. However, it does not mean that the combination of household items created by machines will form a modern style. What can be called style must be an artistic trend of thought. In fact, modern style can also be divided into several schools, among which the most representative ones are high-tech school and de stijl.
High-tech school pays attention to the expression of "high industrial technology", which has several obvious characteristics: first, it likes to use the latest materials, especially stainless steel, aluminum-plastic plates or alloy materials, as the main materials for interior decoration and furniture design;
Secondly, the exposure of structure or mechanical organization, such as the exposure of indoor water pipes and air ducts, or the use of transparent household appliances with bare mechanical parts; Functionally, it emphasizes the audio-visual function or automation facilities of modern rooms, with household appliances as the main furnishings, exquisite and delicate component nodes, and indoor artworks as abstract artistic styles.
De stijl is a modern art school centered on Holland at the beginning of this century. Strictly speaking, it is a branch of cubist painting school. He believes that art should eliminate the connection with any natural objects, and only the smallest visual elements such as point, line, surface and primary colors are truly universal and eternal artistic themes.
The representative figure of interior design is Ritter Wilder, a carpenter. He fully expressed de stijl's thoughts in furniture and artistic display. The appearance of de stijl reversed Bauhaus's artistic trend of thought, and the absolute abstract visual language he created and the design works of his representative figures had an extremely important influence on modern art, modern architecture and interior design. modern simplicity
Modern minimalist style generally emphasizes the spaciousness and transparency of indoor space in dealing with space, and pursues the freedom of leaving the load-bearing wall in space graphic design. Walls, floors, ceilings, furniture and even lamps and utensils are characterized by simple modeling, pure texture and fine craftsmanship. And as far as possible, there is no need to decorate and cancel unnecessary things. We believe that any complicated design, any special part with no practical value and any decoration will increase the construction cost, and the emphasis on form is more to serve the function. Modern Avant-garde Modern Avant-garde tries to use new materials and technologies in the design, and pursues personalized indoor space forms and structural features. The use of color is bold and bold, pursuing strong contrast effect, or strong gorgeous or black-and-white contrast. Emphasize the creation of unique lighting effects. Plane composition has great freedom. Exaggeration, deformation, fracture, refraction and distortion are often used to break the horizontal and vertical modeling of indoor space, and abstract patterns and combinations of wave curves, curved surfaces, straight lines and planes are used to achieve unique effects. Unique furniture and facilities are placed, and indoor equipment is modernized to ensure comfortable functions and reflect individuality. Postmodernism Moravski pointed out the following two basic characteristics of postmodernism.
First of all, there is no doubt that it is anti-avant-garde. Postmodernism's meditation on artistic status is extremely indifferent, if not hostile. At this point, it is not wrong to say that postmodernism is an anti-rationalism of intellectuals, even anti-wisdom. Postmodernism often laughs at itself and advocates tolerance the most; But we must not tolerate any ideological contribution or eschatology (utopia or blueprint for liberation). It questioned the pursuit of continuous innovation and destroyed the belief that the best art knight is the hero of media, expression and iconology. On the contrary, it agrees that art is not a profession, but one of many professions. Its legitimacy lies in the production of particularly popular goods. It will not wait for rebellion or transcendence. It insists on the closest contact with ordinary members of society. The aesthetic dimension must be restated, either in the form of dazzling fakes (which reminds us of the stylized design art required by the market) or in the form of spontaneous expression by artists (they deny the possibility of perfection with colors, sounds and words, and just want to present a deja vu imitation of reality). In a world without a central axis, in a value vacuum, the fundamental goal is to "create" freely for happiness. Imitation painting and parody have become the most appropriate means to witness the current cultural rubbish. And its guest card is shameless compromise. 10)
Secondly, the post-modern approach is the degradation of advanced culture, but this is an intentional degradation, deliberately lowering itself to the level of low-level culture. It wants to find a feeling of going home, because it makes it more consumer, so it uses narrative, familiar symbols and simple forms. Its main form is the diversity of attitudes and values, which people can choose at will. Social reality is regarded as heterogeneous, fragmented and accidental at all levels. Postmodernists insist that nothing can have the power of a judge today, so art has no mission, just a pastime. All the principles of avant-garde art are questioned. Painting only points to fleeting things, and there is no assertion about whether it can be remembered. Iconology is usually trite, or only related to the nightmare of human masochism. It has no frame of reference, so it can't remember anything. The audience's demand for pictures is either to adapt to the hasty outbreak regardless of aesthetic quality or to meet it by imitating the master techniques of classical predecessors. Direct eclecticism leads to distrust of artistic dignity, thinking that everything is just a commercial exhibition. The image of R. Longo is often borrowed from magazines, newspapers and movie stills. Painting should always be an operation with proper craftsmanship, so as to unite the painter with an innocent audience who is indifferent to any serious thoughts. It should be as easy to understand as a gift, and it should cheer for "happy nihilism" as Oliwa said. Sherrie Levine's self-repeated photo reproduction, Mark Kostabi's repeated Leger operation, Sikong's reproduction of all market icons, and the fashionable and stylized image of the prince all belong to this category. These artists are not without differences. However, these works are parasitically copied off-the-shelf products. 1 1)
In the field of architecture, the average taste is deeply rooted in the regional (national) tradition, so it is easy to mistake postmodernism for revivalism. However, the products of postmodernism can be identified by the fact that different styles, whether new or old, are eclectic and juxtaposed, and strengthened by modernist technology and the latest materials. Columns, colonnades and arches are resurrected, and the space is full of trees, flowers and small fountains. Intermittent lines are welcome, and colors and shapes are invited to match. Architecture must also have a narrative: it uses symbolic symbols of the past and tries to be interesting and enthusiastic, so that it can be enjoyed by the audience happily. At one pole of this spectrum is C. Moore and his gorgeous remodeling of distant idioms (such as corridors), or S. Tigerman's "Daisy House", a building that imitates penis and vagina; The other pole is obviously exquisite architecture [such as P. Peter eisenmann, H. Holland and J. J. Sterling]. They fundamentally revived the modern paradigm, but they did not fully develop it. Their strategy is a kind of "double code", but they also appreciate conscious hand-making, and graft it with heterogeneity and diversity. Through carefully defined semantics, they make high technology succumb to the emotional connection with the public recipients.
Moravski pointedly pointed out that it is difficult for an artistic camel to pass through this needle eye, if the main condition for becoming an artist is to be a follower and a popular person (for example, to adapt to general needs and interests). He doubted whether Costabi, Bidelot, Lesch and others-parasitic in various micro or macro quotations, constantly producing paradoxes and imitations, and not ashamed of the emptiness of their works-were braggart artists. His suspicion was finally confirmed in a book called The End of the Game (1986). The Boston Institute of Contemporary Art published this book, which commented on the paintings of Brechner and Harley, as well as the paintings of the so-called integrated media sculptors Sikong, ottesen and Steinbach, clearly showing that although these artists are clearly aware of their civilization and cultural context, they are in favor of the ubiquitous commercial fetishism. They clearly know and are willing to give in to the needs of commercial streets and copying industries. Dealing with finished products happily has become the main motivation of external urging and art games. As Steinbach publicly admits, shopping is the best way to travel and peep today. A common vacuum cleaner can be interpreted as a symbol of a cultural vacuum. For these artists, they make these goods without any melancholy, anger or irony. They are just a symbol of universal commercialization, so in the broadest sense, they are very close to the expectations and desires of customers. 12)
Of course, Molaschi holds a firm critical position on the typical attitude of postmodern art and its practitioners, and the affirmation and indifference they cultivate. Postmodernism art is accused of abandoning the ambition of modernism and avant-garde art, the tenacious pursuit of aesthetic value, the conscience responsible for cultural and social influence, and the liberation spirit of supporting modernism and avant-garde art works and promoting them to achieve the highest artistic achievements. Molaschi's criticism of post-modern culture is both artistic and political. Such a culture that claims that there is no difference between sublimity and anything outside the artist's studio and painting outline can only produce mediocre and irrelevant art-at the same time, it strengthens the spirit of commercialism. Therefore, Moravski believes that postmodernism has committed a crime in suppressing human sensitivity to the tragic complexity of existence, eliminating the pursuit of transcendence and improvement, and raising the instrumentality of hedonism to the highest, in fact, the only value position.
Molaschi's second front is against the radical anti-foundationalism of post-modern philosophy and his hostility to all aspects of modern tradition. The part of Moravski's modern heritage that cannot be rejected is a deep need to reveal and grasp the reality; It is this reality that lays the foundation and gives meaning to episodes and fragments. Modernism is also deeply concerned about the establishment of human values and ethical principles. Molaschi doubted the sincerity of postmodern philosopher's scheme, especially its feasibility. He insisted that postmodern philosophers could not explain their assumptions; They intentionally or unintentionally make their scenery "absolute" and secretly sell their own "absolute value" contraband. Modern philosophy is usually consciously and openly engaged in this work, so it is also openly debated and critically questioned, but post-modern philosophy has done so secretly and circuitously, blocking the opportunity for self-criticism and self-correction.
This is the basic landscape of postmodernism. Molaschi's description is not necessarily the whole picture of postmodernism, but it does capture the key point. Summarizing the descriptions and criticisms of postmodernism mentioned in each chapter, we can give a definition of postmodernism: postmodernism is an artistic, social, cultural and philosophical trend of thought that occurred in Europe and America in the 1960s and prevailed in the West in the 1970s and 1980s. Its essence is to abandon the basic premise of modernity and its normative content. In post-modern art, this abandonment is manifested in rejecting modernist art as an independent value to divide cultural fields, and rejecting modernist formal restriction principle and partisan principle. Its essence is anti-rationalism, moral cynicism and emotional hedonism of intellectuals.
Postmodernism-I feel that this concept is somewhat similar to post-art, and it is more inclusive. If modernism is anti-traditional and advocates innovation, then postmodernism emphasizes the inclusiveness of art, the inheritance of history, and the connection and interaction between various fields, categories and styles. . . . In fact, postmodernism is-nihilism, an art that travels through time and space. You can put baroque chairs and ancient porcelain boxes together, and you can put a telephone booth in your bedroom. . . . . Without boundaries, I gradually understand-in fact, postmodernism doesn't need us to draw a concept at all, and it doesn't need these. Neo-classicism Neo-classicism interprets the classic essence of traditional culture with modern materials and techniques under the norms of traditional aesthetics. It has both elegant and dignified temperament and obvious characteristics of the times. Neoclassicism is the perfect combination of classicism and modernity. Originated from classicism, but not antique, not retro, the pursuit of spirit likeness. Neoclassical design emphasizes style, and pursues the general outline characteristics of traditional style with simplified techniques, modern materials and processing technology; Pay attention to the decorative effect and enhance the historical context by using indoor furnishings. Elegance is a decorative style with strong cultural taste, which breaks the modernist modeling form and decorative techniques, pays attention to the collocation of lines and the coordination of colors, and opposes simplification; It is similar to postmodernism or neoclassicism in style, emphasizing pattern, paying attention to context, pursuing human feelings, absorbing other concepts of art or natural science from the composition theory of modeling design, presenting traditional components in new situations through reorganization, pursuing taste and harmonious color collocation, and opposing strong color contrast and heavy metal flavor.