From workbench to powerhouse

Monochrome, analogous, complementary, split, triadic, and a UI-ready budget — every swatch tagged with its derivation (+180°, L−32) and click-to-copy.

Labels set black or white by relative luminance, a measured WCAG ratio on every swatch, and a text-tier accent stepped until it clears 4.5:1 on paper.

The page's own neutrals carry your hue and re-temperature with every pick — in both themes, each derived rather than inverted.

Swatches that morph in place instead of rebuilding, a continuous conic ring, and softened corners — all on one shared clock, so the surface re-temperatures as a single motion.

Drag anywhere around the wheel and the whole surface follows in real time. Two interactions want two clocks: the 350ms cross-fade that makes a single pick feel considered would make a live drag lag a third of a second behind the cursor, so it drops to zero while you steer and returns the moment you let go.

One format switch drives the panel and every per-strip button, so there is a single place to read what you'll get. The panel shows the output verbatim — what you read is exactly what lands on the clipboard.

Ten fixed lightness anchors carrying your hue — a scale, not offsets from wherever your base sits. The stop nearest your colour is marked, so you can see where it actually lands in a system.

The colour lives in the URL, so any palette is a link — and a shared link beats your own saved pick, or you'd silently see the wrong palette. Plus a recent rail, capped at eight, that never grows the bench.

Derive in HSL or OKLCH; every scheme runs in whichever you pick, because the derivations are geometry and geometry doesn't care which space it runs in. Measured on a yellow ramp, OKLCH's steps come out 41% more even. Colours OKLCH can name but sRGB can't show are gamut-mapped by holding lightness and hue and easing chroma down — never by clipping, which shifts both.

See the strips through protanopia, deuteranopia or tritanopia. The fills change; the hex values and ratios stay true, because that's what you'd ship and what WCAG measures. The page chrome is left alone so the tool stays usable while you look.

Contrast belongs to a pair, not a colour. Each cell sets the column's colour as text on the row's colour as fill, so you read the ratio and see the pairing at once — and the level is spelled out, never carried by colour alone.

Paste a palette and it is argued with, not admired: dead greys, two light sources, hue-budget creep, nothing-is-the-signal, colours that can never carry text, and pairs that will vibrate or turn to mud. Every finding names the order it breaks and carries a fix derived from your own colours. It stays quiet on a palette that holds — which is the only thing that makes the noise worth reading.

Outgrew its card and became its own page, In place: a whole product wearing your colour — navigation with an active state, stat tiles, a chart, a status table, alerts, form controls, disabled states. It also derives the signal set the UI-ready five don't carry, and tells you when your accent has taken a meaning it can't have.

Drop, paste or browse an image and its hues are clustered in OKLCH on the spot — greys and extremes discarded, since they carry no hue to steal. Click one and the whole workbench re-derives from it. The pixels never leave the page.