Before 1900, ta'unga master carvers on Rarotonga and Aitutaki cut Tangaroa fisherman-god figures from dense island hardwoods — tamanu, hibiscus, ironwood — using the squatting, broad-headed atua form as a vessel for lineage and ritual power. Every surface was left in the wood's own tone: no pigment, no whitewash, only oiled grain catching light along incised sawtooth rows. This system translates that single-material discipline into interface terms: one warm brown hue family carrying every layer of hierarchy through value alone, sawtooth-row texture as a structural motif, and raking-light highlights standing in for elevation.