A cream sheet and one brown ink.

The solid colours. Paper is every page, edge to edge; ink is a warm brown rather than a black, so text sits in the sheet instead of on top of it; tan is the pencil — the underline, a mark, a focus ring.

Rules, panels, field outlines and secondary text are not separate greys. They are the ink at a lower strength, so every one of them stays in the same warm family whatever it is laid over. Shown here as they land on paper.

The primary action is ink deepened one step, with a lighter tone of the same hue for the edge that catches the light. It is covered in Controls; these are its three colours.

No paper, ink or control colour exceeds 0.056 chroma. The colours below break that limit deliberately, and they are not interface: four cloth dyes for the bound volumes, named for the traditional dyes, and shu — the vermilion of a seal. The one saturated colour that is interface is the red of an error, which is meant to interrupt.

The mascot changes colour with her mood. These thirteen pastels are hers alone: they are not tokens, they appear nowhere else, and nothing in the interface borrows them.

The pairings the site actually uses, with their contrast measured from the tokens above rather than quoted from memory.