Faded newsprint with an old-style serif body. For long reading and writing where the type does the work.

Deep cobalt on white paper. Headings, quotes and links all in one blue family — the straightforward choice for papers and documents.

Desaturated forest green on off-white paper. Easy on the eyes over a long session.

A cooled blue-grey neutral. Nothing shouts, which suits technical documents full of tables and code.

Plum-purple accents over the palest lilac ground. Calm, with one bright note.

Fired-clay orange on cream. Quotes sit on a tinted panel, so paragraphs break cleanly.

Achromatic minimalism. Even the accent is grey, so nothing is left but the words.

Clear teal on a cool white ground. Checklists and tables read crisply.

Designed dark-first, at high contrast. Cyan accents and magenta headings lift off the dark.

Deep sepia with the blue light taken out. The gentlest of these for editing late at night.

Neighbouring hues from blue into violet, kept at full saturation. Ink bleeding into white paper.

Jet-black type on pastel fields running from peach to rose. Soft colour, hard-edged text.

Green and teal only, with the lightness gap narrowed, so the bright green glows instead of shouting.

Lilac and pale blue packed into a very narrow lightness range. The whole screen reads as one soft haze.

Orange and sky, exact opposites on the wheel. Links take the orange, headings the blue.

Mint and rose, a facing pastel pair. Quotes sit on a rose panel, so the two colours alternate down the page.

Ochre yellow facing plum purple, with the ground lifted to mid-tone so neither one shouts.

Sage green facing muted pink, both with the volume down. The softest screen in this set.

Crimson, sky and amber — three points spaced evenly around the wheel. Headings, links and emphasis each take their own.

Pistachio, blueberry and raspberry, all three dropped to pastel. Sweet, but quiet.