Recolor settings now includes Dithering: Off / 2×2 / 4×4 / 8×8. Off remains the default and keeps the previous nearest-color result. Choose a pattern to mix target colors spatially for smoother sparse shading, then adjust Dither strength (0–100%, initially 50%). Zero keeps nearest colors. Dithering can add unwanted texture to flat sprites; compare at native size before saving. Existing 1-bit dithering styles remain separate.
The sizes describe repeating squares of source pixels, not color counts or strength. The explicit 2×2, 4×4 and 8×8 labels keep that distinction visible. Dither strength appears directly below Dithering only while a pattern is selected.
The pattern uses original source coordinates, so previews and native exports agree. It never changes transparency, invents target colors or alters exact RGB colors in the active palette/subset. Max colors still chooses the allowed subset first. Cleanup's approved replacements remain solid; other pixels retain dithering. Settings are saved across visits, and Reset restores Off and 50% while retaining the selected palette. Fixed unchanged animation coordinates remain stable, but moving art can move through the pattern. Diffusion is not offered in this family.
These rules supersede historical nearest-only method guidance below.
“Target palette” means the colors the finished image is allowed to use. A two-color target is just a set of two colors: Glow, Paper, black/white or a custom pair. Palette mode can apply its optional Dithering control to that pair. This does not switch the app into the separate 1-bit mode. In 1-bit mode, the selected style assigns two inks using brightness, structure or patterns; Checker, Bayer, Hatch, Atkinson and Noise already provide patterned shading. The full-palette Dithering control does not apply an additional pass to those styles.
Colorfetti starts in Palette mode: generate colors with Auto, choose from twelve curated palettes, or import, edit and save your own. The optional 1-bit mode offers twelve preset color pairs and two-color styles. Full palettes and their provenance are in src/lib/palette-library.js; 1-bit pairs are defined in src/lib/presets.js.
Open Palette and choose Palette or 1-bit. Palette mode's import icon accepts an image, palette file or pasted colors; its edit icon opens color review. Names under the round choices use a single line with an ellipsis when needed; full names remain in accessible labels and tooltips. More → Help lists the current mode's controls.
Auto is selected on fresh visits and global Reset, and leads the rail. It sits directly before Resurrect 64, without a divider between them. Saved choices remain intact, including older 1-bit preferences. ENDESGA 32 remains the curated fallback for missing/deleted saved selections. PICO-8 remains available for its distinctive stylization. A shared preset supplies consistent allowed RGB values; Max colors can restrict each asset further.
Choose Auto to fit up to 64 shared colors from every wall image, including all animation frames. It runs only when selected and refreshes when images or Opacity cut change. Matching, Max colors and Cleanup use that palette without changing its colors. Adding/removing art can recolor earlier tiles. Edit saves a fixed copy that stops following the wall. Generated improves source fidelity in the tested corpus, but may preserve unwanted AI noise; it does not infer intentional outlines/details.
Auto's tooltip starts with its completed color count and source: for example,
Auto · 32 colors · Your images, or Auto · 11 colors · Example image.
The next line explains generation. This metadata updates with the published palette;
opening the tooltip does not scan images or start work. During regeneration it describes
the retained completed swatches. Imported images and the empty-wall example are never
combined. The visible name is Auto; its stable saved identity remains generated-32.
Opacity: Cut / Keep appears when an image has partial opacity. Cut keeps the existing hard cutoff: each pixel becomes fully visible or empty. Keep retains its original opacity, including soft edges, translucent shadows and effects. Keep hides the cutoff slider; switching back to Cut restores its value. Cut remains the default. Save preserves partial opacity exactly in PNGs. Copy starts with the same PNG, but the browser or OS may change translucent colors during clipboard transfer. Save a PNG for exact translucent colors. GIF supports only visible/empty pixels; an unexpected partial-opacity animation cannot be saved as GIF in Keep mode. Existing GIF sources already have binary transparency.
To import from Lospec, open Import palette → Paste colors and paste the palette's full Lospec link. Choose Import from Lospec, review its colors/name and Save palette. Its published palette name appears as one link beside the color count, even if you rename your local copy. Its author and source link stay in palette metadata. Requests fetch only public palette data; artwork and credentials are not sent. If Lospec is unavailable, import a downloaded HEX file or paste its colors. Other websites and arbitrary links are not supported by this action.
To reuse an image's actual output colors, choose Reuse colors beside Copy in the wall’s desktop image actions, or in touch Image actions. One click opens an editable palette draft; Save palette keeps it locally and HEX backup exports it. It includes the full image or every animation frame, excluding transparent pixels. An entirely invisible output has no colors to reuse.
The caption can show 24×24 · 8 colors without a Count button. Small images rendered at their original resolution provide that count as part of normal work; animations need every frame. Large sampled tiles leave it out until Preview or Reuse obtains an exact full-resolution count. Counts clear when settings change; no estimate is presented as an exact output count. Preview has no Count or Reuse button; any completed inspection appears in the wall caption when you return.
Choose Palette in the panel to convert source RGB directly into a selected set of 1–256 unique opaque sRGB colors. Exact selected RGB values map to themselves; other pixels choose the nearest color using Oklab (default) or RGB, with the first palette entry winning equal-distance ties. Selected order is preserved and duplicates are removed. A palette is an allowed set, not a promise that every selected color will be used.
| Preset | Colors | Attribution |
|---|---|---|
| Resurrect 64 | 64 | Kerrie Lake |
| ENDESGA 32 | 32 | ENDESGA, originally for NYKRA |
| Mulfok 32 | 32 | mulfok; pink highlights and purple-tinted ramps |
| PICO-8 | 16 | Lexaloffle Games |
| DawnBringer 16 | 16 | DawnBringer |
| ENDESGA 8 | 8 | ENDESGA; fixed broad-hue target |
| Grayscale 8 | 8 | Colorfetti: eight evenly spaced sRGB grays |
| Ice Cream GB | 4 | Kerrie Lake |
| Game Boy Green | 4 | Common Game Boy LCD-inspired RGB interpretation; hardware does not define one canonical RGB set |
| Black & White | 2 | Exact opaque sRGB black and white |
| Glow | 2 | Polyducks, 1bit Monitor Glow |
| Paper | 2 | Doph, Paperback-2 |
The rail groups presets by descending color count: 64, 32, 16, 8, 4, 2, with vertical dividers between counts. Black & White, Glow and Paper form the final group. These use the same pairs as 1-bit Mono, Glow and Paper, but apply palette recoloring. ENDESGA 32 precedes Mulfok 32 and PICO-8 precedes DawnBringer 16, using dated Lospec download counts as a popularity signal. The four-color pair puts the warm artist palette before the familiar handheld palette. Plain Black & White and Grayscale 8 are utility references without comparable download figures; Black & White leads its group for recognition, then the artist tints follow their measured popularity. This curated order does not claim a universal popularity ranking. Mulfok 32 is an intentional soft/purple alternative, not a neutral-fidelity replacement. See the curation research. Auto is the fresh default; ENDESGA 32 is the curated fallback for missing or deleted saved selections. Existing preset IDs and saved selections are preserved. Published colors retain their original order.
ENDESGA 32 offers broader shared color ramps for varied PixelLab assets while still
restricting the collection to 32 colors. All, Oklab and Cleanup Off remain the defaults;
the median sampled asset used 12 colors with All. PICO-8 remains a distinctive console
look. These are palette choices, not a guarantee of neutral conversion or artist intent;
see research/2026-10-12-palette-default-and-adaptive.md for counterexamples.
Curated presets are immutable. Edit creates a named copy. Saved and session-only palettes follow the presets on the same rail, with a divider. One round preview represents each palette. A small preview shows all colors up to sixteen; larger palettes show sixteen actual colors selected to cover their RGB range, in original palette order. This overview avoids hairline wedges and does not change conversion, editing or export colors. It does not represent color frequency or which colors an image uses. Palette circles remain 44px; touch targets are at least 44px, while fine-pointer desktop header controls remain compact. Import and Edit are icon buttons with accessible names and tooltips; they open a native dialog. There is no separate full-color style list, no one-option method picker, and no Swap/None role in this family.
The comparison button shows the selected palette's name rather than the generic word Palette. Short names keep their natural width; long names use CSS ellipsis within a responsive maximum of 156–208px. Full text is retained in the DOM, in its accessible label and tooltip. Pressing it still compares the converted result with the original. The 1-bit comparison button keeps the current style's name.
Nearest-color conversion remains the default. Optional multicolor ordered dithering adds spatial texture to approximate intermediate shading. Legacy Cutout/Stencil/Icon classify two ink roles; they do not define arbitrary full-palette recoloring. Error diffusion and automatic shape preservation remain separate future investigations.
Select or import a palette once; it applies to every image on the wall. A visible pixel keeps its RGB if that color is already in the active palette or selected Max colors subset, including with Cleanup On. Otherwise, the nearest stage checks every palette entry and chooses the closest using the selected matching rule. Oklab approximates perceived color differences; RGB minimizes squared differences between encoded sRGB channel values (0–255), without channel weighting or brightness adjustment. Choose either in Palette settings → Matching; Oklab is the default. This global setting is remembered across visits and family switches; selecting a palette does not change it. Hover or hold the Matching or Cleanup label for its explanation; the descriptions are also available to screen readers. With Max colors: All, Cleanup: Off and Dithering: Off (the defaults), the same source RGB maps to the same palette RGB at the same matching setting in every image. All preserves the existing nearest conversion. The shared palette is never regenerated or changed.
Max colors optionally selects up to 2–256 colors from that palette per image. Move the slider or enter a number; both controls stop at the active palette's color count. They show the effective limit while retaining a higher remembered limit for larger palettes. Switching palettes or leaving an untouched field does not change the preference; editing the limit does. Unfinished edits are discarded when the palette changes. Slider changes apply after a 200ms pause or immediately on release; number changes apply when you finish editing. The previous preview stays visible during recalculation. All places the slider at the active palette's maximum and shows that color count as the number field's placeholder. It removes the limit and stays distinct from a numeric limit equal to the palette's size. A one-color palette uses its sole color and disables both limit inputs. Two-color palettes disable the immovable slider, while the number can select 2. Previous saved limits of 1 restore as 2; All remains unchanged. Selection reduces weighted color error using a bounded search, then pixels use nearest matching within the chosen subset. Small details can merge and separate images can choose different subsets, so identical source RGBs need not match identically when limited. Animations use one subset for all frames, weighted by frame duration. Transparency does not count toward the limit. The limit is remembered across visits and family switches.
Each image can use a different subset of that shared set. It does not have to use every selected color. PNG exports compact unused entries, so files can have different stored color tables while all visible RGBs still belong to the same shared palette. GIF frames share one used-color table per exported animation. Fully transparent pixels stay empty; the Opacity cut decides whether partially transparent pixels become empty or opaque.
Cleanup: Off / On optionally merges isolated palette-colored pixels with compatible neighbors. Off is the default and keeps ordinary nearest output. On can remove deliberate eyes/highlights and map the same source RGB differently depending on its surroundings. It never adds a color outside the selected palette/subset or changes transparency. Cleanup uses full-source decisions for previews, Save, Copy, ZIP and export dragging. GIFs apply a change at a coordinate only when every frame agrees on both the original nearest color and the proposed replacement. Moving noise can therefore remain. On preserves exact RGB matches in the active palette/subset. A final veto limits added squared Oklab error to the smaller of 0.005 and half the original matching error plus 0.0004. The fixed ceiling also applies with RGB matching and smaller Max colors subsets. This reduces expensive color changes; it cannot identify every intentional detail. Read the research and detail-loss limits before using it for small sprites.
Nearest matching minimizes each individual visible pixel's distance under the selected rule to the allowed set. Dithering instead spreads different allowed colors over neighboring pixels to approximate a missing shade; it can improve averaged shading while increasing individual pixel error and changing crisp pixel-art textures. Ordered 2×2, 4×4 and 8×8 patterns are available as optional full-palette controls. Error diffusion remains deferred because it can propagate changes through animation frames.
With Opacity Cut (default), output pixels are fully opaque or fully transparent; Keep preserves partial source opacity in PNGs (GIF cannot, so it fails explicitly). Opacity cut defaults to 128: source alpha below the cut becomes empty. The range is 1–255, so alpha zero always stays empty. Palette settings always offers the compact Oklab / RGB control. The Cut/Keep row appears for partially transparent sources (or while Keep is selected); Opacity cut appears with Cut only when an image has partial alpha or the cut has changed. The popup's 16px semibold Recolor title identifies the settings, with an icon-only Reset button aligned at its right. Rows are Max colors, Matching, Cleanup, Dithering, conditional Dither strength, conditional Opacity Cut/Keep, then Opacity cut when applicable. Reset restores Oklab, All, Cleanup Off, Dithering Off, Dither strength 50%, Opacity Cut and cut 128 without changing the selected palette. Neither rule is universally visually best; compare with the original, especially when a palette lacks the source's hue. Other color spaces remain outside the current controls; see the matching decision. Switching families retains 1-bit colors, None, style and per-style settings. Selecting or altering a palette returns the display to converted output; hold comparison and the persistent-label conversion switch remain available.
One dialog has an editable palette name, download and Close in its fixed header. Download stays visible and is disabled when the draft is empty, incomplete or busy. The scrolling content shows the shared color count (initially 0 colors), swatches and editing/recovery controls, then Image or file, Paste colors and Add colors. Only the chosen input controls appear below those buttons, followed by source notices and acquisition errors. Switch methods without losing the draft or pasted text. Large swatch lists scroll within a bounded grid; the save footer stays visible. Editing and copying start with Add colors.
From Aseprite: under Image or file, choose or drop a saved .aseprite or
.ase file to import its embedded palette. To copy swatches instead, select
them in Aseprite's palette, choose Edit > Copy, then paste into Paste
colors and choose Review colors (or Replace colors). Native HEX
swatch copying requires Aseprite 1.3.3 or later with its native clipboard enabled.
Review the colors, then Save palette. File import reads the saved first-frame
palette, including unused swatches; export a PNG to extract artwork colors instead.
The Aseprite parser downloads only when an Aseprite file is imported.
While this dialog is open, drop a local palette file or an HTTP(S) image/Aseprite URL from Discord or a web page anywhere on it. Files take precedence over URLs; only the first source replaces the draft, with the chosen method and entered name retained. Signed URL queries are kept. Downloads omit credentials and referrers, have a 30-second download timeout and stop above 32 MiB. The host must permit browser cross-origin access. Failures and cancellation retain the current colors; a failed link can be saved and imported as a file instead. Remote text palette links are not supported; use the existing file picker/drop or Paste colors for HEX/TXT, GPL and JASC-PAL. File and text actions say Replace when colors exist; manual Add appends a unique color. New drafts suggest New palette, or the first available New palette 2, 3, etc. when saved or session palettes already use that name (ignoring case and outer spaces). Existing and entered names are preserved. An untouched file import can suggest its filename. The name-to-count gap matches other sections: 12px, or 6px in short landscape. An image with no visible colors reports that and keeps the draft. The round HEX backup button is beside Close; Image options/More options expand only when needed. Image options opens automatically for an over-limit image. Errors and recovery actions stay visible, and the saving limit is explained when the draft needs reduction. If an earlier GIF export exceeds its color limit while this editor is open, an inline notice identifies that export palette and asks you to finish or cancel the draft, then try Save again. The draft, editing limit and saved record remain unchanged.
- Images: PNG, JPEG, WebP, BMP and GIF, up to 32 MiB and 16 × 1024 × 1024 decoded pixels. GIF contributes its first frame, with a notice. Decoding is browser-managed, color-managed sRGB. These are decoded values, not a guarantee about original profile or file bytes, and the browser may allocate decode buffers before dimensions are known.
- Text: pasted or HEX/TXT colors, legacy RGB GPL, and text JASC-PAL version 0100,
up to 256 KiB. Hex tokens accept
#RGB,#RRGGBB, or bare six-digit hex, separated by whitespace, commas or semicolons. Alpha hex, binary PAL, Adobe ASE/ACO and malformed or mismatched RGB rows are rejected. TXT uses the hex grammar, rather than every format another program happens to call TXT. - Aseprite:
.ase/.aseprite, up to 32 MiB and 4096 embedded table entries. A lazy parser reads the first frame's embedded palette, preferring modern palette records over legacy ones. Stored RGB channels are imported in palette-index order, with duplicates removed and alpha-zero entries skipped. Partial alpha becomes opaque, with the existing notice. Later frame palettes are not combined. Missing or incomplete palettes, malformed framing or palette data are rejected without replacing the draft. Artwork, layers and document color profiles are not rendered, validated or applied: this preserves authored numeric colors like HEX import. Export a color-managed PNG first to import colors from the rendered appearance. - Every color: all full-resolution pixels with alpha greater than zero are scanned in reading order. RGB duplicates are removed, alpha-zero pixels are ignored, and partial alpha produces an opaque-normalization notice. No assumed image layout, color popularity filter, automatic background removal or black/white exclusion is used.
- Find solid colors: an optional proposal from matching visible RGB in 3×3 patches, even when their positive alpha levels differ. It can retain borders and backgrounds. Review the result yourself; it does not identify intended swatches. A zero-candidate result explains the problem and keeps the current draft.
The dialog reviews up to 4096 colors in pages of 64. Select colors to remove them, edit one selected color with the color picker, add a color, or undo edits. Duplicate edits are rejected and the picker keeps its original value. A committed palette needs 1–256 unique colors and a trimmed name of 1–64 Unicode characters. Above 4096 distinct colors the exact total is reported, only the first 4096 are shown, and that incomplete draft cannot be saved or exported as a complete backup. Try solid candidates or a smaller prepared palette image/file. Cancel leaves the existing palette and library unchanged.
The three supplied regression images produce 255, 31 and 345 exact visible RGB values.
Solid candidates produce 0, 31 and 31. Removing the strip background #202125 or grid
border #babacc manually produces their intended 30-color sets. These are fixture
results, not a guarantee that arbitrary screenshot borders can be inferred automatically.
Named palettes are committed to the separately versioned colorfetti-palettes-v1 local
storage key, with a maximum of 100 records and 256 KiB of serialized UTF-8 data. The
capacity limit can be reached before 100 large palettes. Source images and drafts are not
saved. Record validation restores valid palettes independently of damaged records.
The latest library is read before writing; changed/deleted revisions offer Save copy or
Reload. Web Storage provides no transaction across simultaneous tab writes.
Changes or clearing local storage in another tab refresh the saved choices. Session
palettes and an open editor draft remain available; saving a removed record offers recovery.
Storage failure keeps the draft visible, offers Use for this session, and permits a HEX backup. Successful Save selects the palette; it is not labeled saved before persistence succeeds. Delete requires confirmation. Reset settings preserves saved palettes by default; its unchecked Delete saved palettes option removes only the palette-library key when selected. Reset keeps artwork files and returns to Palette with Auto, Oklab matching, All colors, Cleanup Off and the default opacity cut. A deletion/storage failure is reported rather than silently clearing data.
Full palette still images save as -palette.png; animated images save as -palette.gif.
Save and Copy use every original-resolution pixel and a snapshot of the current matching rule, colors
and alpha cut, including the optional maximum. Preview, Save and Copy select from the
same full-resolution source; animation Copy uses its shared all-frame subset. PNG packs only used colors at the smallest 1/2/4/8-bit depth; all 256 used
opaque colors plus empty use directly encoded RGBA PNG instead. No canvas encoding or
implicit color reduction is used. Copy supplies a PNG of the first animation frame.
This describes the PNG prepared by the app; native clipboard transfer can round
translucent RGB values after encoding. Save retains the exact converted PNG.
GIF uses a stable global table of the used colors across all frames, including an empty entry when needed. It permits 256 opaque used colors, or 255 opaque colors plus empty. If all 256 colors and transparency are used, Save opens a named copy constrained to 255 colors. Remove colors explicitly, save the copy, then request a new download. Cancel preserves the original selection. Save all downloads no ZIP until all files succeed. Local GIF tables and implicit automatic reduction are not implemented. An explicit Max colors limit applies before this compatibility check. Converted preview playback waits for each frame and may slow down on expensive images. Original comparison follows the source frame timers independently of conversion; exports retain source frame delays.
A 1-bit preset is two colors, a dark one and a light one.
The 1-bit family draws images using those two colors:
- First color, the left swatch in the dock. It is used for lines and dark pixels.
- Second color, the right swatch. It is used for fill and light pixels.
Three controls decide the result, and each does one job:
| Control | Decides |
|---|---|
| Palette | Which two colors are used. |
| Swap | Which of the two is the first color. |
| Style | Which pixels get the first color and which the second; see styles.md. |
They are independent. A palette does not favor a style or a way round, and a style does not favor any colors. Every palette works with every style, either way round.
Either color can also be None: the small switch beside the palette's name leaves the first or the second color out, and its pixels are transparent on the wall and in the saved files. None is not part of a palette. Choosing a palette changes the two colors and leaves None where it is, and Swap takes None along with its color.
For minimal inventory icons, choose Icon and make the first color None. The second color fills the body; the inferred outline and selected inner grooves become transparent. Changing the ink does not change the geometry. Icon reads source RGB directly, so converting the source to grayscale can remove useful material boundaries.
The panel shows round choices with their names underneath in one horizontal scrolling row, with vertical dividers between three groups: classics and decorative pairs (Glow, Mono, Paper, Torch, Rose), handheld screens (Game Boy, Pocket, Nokia, Playdate), and monitors (Phosphor, Amber, Commodore). Keyboard and gesture stepping follow this order.
Contrast is the WCAG contrast ratio between the two colors, from 1 (identical) to 21 (black on white). Higher means the two colors are easier to tell apart.
| Name | Dark color | Light color | Contrast | Source |
|---|---|---|---|---|
| Glow | #222323 soft black |
#f0f6f0 soft white |
14.4 | Lospec, 1bit Monitor Glow by Polyducks |
| Mono | #000000 black |
#ffffff white |
21.0 | Plain black and white |
| Paper | #382b26 dark brown |
#b8c2b9 grey-green |
7.4 | Lospec, Paperback-2 by Doph |
| Torch | #0b0a0c near-black |
#f6dfa4 warm cream |
15.1 | Colorfetti's own, after the game End of End |
| Rose | #4a0d2b dark wine |
#ffd1dc pale pink |
11.1 | Colorfetti's own |
| Game Boy | #0f380f dark green |
#9bbc0f pea green |
6.0 | Original Game Boy, darkest and lightest shade |
#1f1f1f near-black |
#c4cfa1 pale olive |
10.0 | Game Boy Pocket, darkest and lightest shade | |
| Nokia | #43523d grey-green |
#c7f0d8 mint |
6.7 | Nokia 3310 screen, Lospec Nokia 3310 |
| Playdate | #322f29 warm black |
#d7d4cc warm grey |
9.0 | Playdate screen, Lospec Playdate |
| Phosphor | #25342f dark green-grey |
#01eb5f bright green |
8.1 | Return of the Obra Dinn, IBM 5151 setting |
| Amber | #3f291e dark brown |
#fdca55 amber |
8.9 | Return of the Obra Dinn, Zenith ZVM 1240 setting |
| Commodore | #40318e indigo |
#88d7de cyan |
6.3 | Return of the Obra Dinn, Commodore 1084 setting |
The 1-bit family initially uses Glow, with the dark color first. Fresh app visits start in Palette with Auto.
Choosing a palette puts its dark color first unless you have swapped. Dark first means dark lines on a light fill, and dark pixels of the original stay dark.
Swap puts the light color first. That gives light lines on a dark fill, the look of a glowing screen, and suits Torch, Phosphor and Amber in the Lines style. It is the same press for every palette, and no palette does it for you.
Glow supplies the initial colors when switching to 1-bit; saved 1-bit colors remain independent of Palette mode.
- It is the most used. Glow is the most downloaded two-color palette on Lospec, about four times ahead of the next one and far ahead of plain black and white.
- It is neutral. Saved images come out as soft black and white, with no tint added.
- It reads in both themes. Its light fill stands out on the dark tile and its dark lines stand out on the light tile.
Mono was the other candidate. It is the same idea with full contrast, which is harsher on the eye.
- Glow and Paper are the two most downloaded two-color palettes on Lospec, a palette library widely used by pixel artists. Glow is black and white with the harshness taken off.
- Game Boy and Pocket. No Game Boy is 1-bit; the screen shows four shades. These presets use the darkest and the lightest of the four. The values are the ones emulators and art tools commonly use for each model. They are a convention, not a measurement of a real screen, which varies with age, light and the contrast wheel.
- Nokia and Playdate are real 1-bit screens. The values are the Lospec entries for each.
- Phosphor, Amber and Commodore are three of the monitor settings in the 1-bit game Return of the Obra Dinn, as recorded on Lospec. They stand for a green monochrome monitor, an amber one, and a Commodore color monitor.
- Torch and Rose were made for Colorfetti.
- Virtual Boy (red on black): contrast 4.7, and harsh on most sprites.
- Game Boy Light: contrast 3.1 between its darkest and lightest shade.
- A Casio calculator green: a third muted green beside Game Boy and Nokia.
- Obra Dinn's Macintosh and IBM 8503 settings: too close to Glow.
- The earlier presets Citron, Moss, Plum, Ember and Tide. Moss and Citron had nearly the same light color, Plum was a second pink, and Game Boy, Amber and Commodore now cover the green, orange and blue they stood for.
- Choosing a palette replaces both colors and redraws every image at once.
- Choosing a palette does not undo Swap. If the lighter color is first when you choose, the new palette goes in light first too; otherwise dark first. So you can swap once and then try palette after palette.
- A palette is shown as selected while the two current colors are its two colors, either way round. Swap never deselects it. Changing either color with a swatch does.
- The chip in the panel always shows the dark color on the left, whichever way round the colors are in use.
- The panel has one row of circular choices with names beneath, scrolling sideways when necessary. Images move up to make room. A faded edge indicates more choices. The selected name appears right of the fixed-position Palette/1-bit switch only when measured space permits; the individual choices always retain their names. Long names are shortened visually and remain available in accessible labels and shared tooltips. A custom pair is named Custom.
- Palettes are a starting point. Either color can be changed to anything with the swatches.
- The Palette panel stays open while you pick, so you can try several in a row. It closes on Escape, on a second press of its button, or on a press outside the dock.
- The two colors are remembered between visits, so the app opens on the palette you last used, the way round you left it. The initial 1-bit pair is Glow, dark first; fresh visits start in Palette with Auto.
- The 1-bit preset list is fixed. Two colors of your own are kept as one more stop, named Custom, while stepping through color pairs, until the page is closed. Named full palettes are separate and do not change this behavior.
Edit the PRESETS list in src/lib/presets.js. Each entry is a name, a dark color and a
light color, as lowercase #rrggbb:
{ name: 'Glow', dark: '#222323', light: '#f0f6f0' },darkmust be the darker of the two. Do not store a palette light first to give it a look; that is what Swap is for.- Prefer a pair people already know, from real hardware or a widely used palette, over an invented one, and record its source in the table above.
- Do not add a pair that looks like one already there. Two muted greens or two pinks make the panel harder to choose from, not richer.
- Use lowercase six-digit hex. The browser's color picker reports colors that way, and a palette is matched against the current colors by exact text.
- Keep names short for readable labels under the circular choices. Long names use the shared truncation/tooltip behavior; selection must not change the panel's height.
- Keep contrast at 6 or higher. Game Boy is the lowest at 6.0; below that the two colors are hard to tell apart in the result.
- To change the default, also change the starting values of
firstandsecondin src/App.svelte. - Update the palette table in the design spec and in this file.