
One Dark & One Light
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A coder's favourite for writing: One Light by day and One Dark at night, blue links, headings stepping through purple, blue, green and gold, and code in the same colours. On the Atom One palettes.
Textus 的
文件

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A coder's favourite for writing: One Light by day and One Dark at night, blue links, headings stepping through purple, blue, green and gold, and code in the same colours. On the Atom One palettes.

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Soft and natural: Rosé Pine Dawn's warm paper by day and Rosé Pine's deep night after dark, iris accents, pine links and rose quotes. On the Rosé Pine palette.

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Calm, low-glare colours for long reading: Solarized's warm light page by day and its deep blue-green one at night, blue links, cyan and green headings and orange code. On the Solarized palette.

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Clear and electric: Tokyo Night Day's pale blue page by day and the Night palette after dark, blue headings, purple and cyan accents, and code in the same colours. On the Tokyo Night palette.

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For notes you keep in order: quotes, code, tables and callouts each sit in a rounded card on a soft grey page, with an indigo accent, and level-2 headings open a section over a rule. Layout and colours after Border, our own CSS.

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More on a screen without crowding it: a 15 px sans with tight lines and paragraphs on warm Gruvbox paper, headings set apart by colour rather than size. For lists, logs and quick notes. Density and colours after Shimmering Focus, our own CSS.

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Clear for long reading and research notes: near-black on a cool white page, 18 px type, red and navy headings, links always underlined, a firm rule under top headings and code set apart by a border. Body text meets WCAG AAA. Colours after ITS, our own CSS.

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For plans, to-dos and outlines: a clean sans on a cool white page, headings that change colour by level, pink bold and teal quotes, and roomy list items. Colours after Things, our own CSS.

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Like reading a well-set book: a large serif on warm paper in brown ink, wide lines and generous paragraphs, bold in red, italics in blue and links in gold; a lamp-lit page after dark. Colours after Primary, our own CSS.


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Like a typeset paper: a Computer Modern style serif, numbered sections, booktabs tables and plain links, on white or on black. After LaTeX Typora by shamsghi.

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A writer's terminal: every word in a coding font, a centred title, one slate colour for headings, tinted quotes with a coloured bar and outlined highlights. After Drake by liangjingkanji.

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Arctic and calm: a snow-storm page by day and polar night after dark, headings and links in Nord's frost blues and a double quote rule. On the Nord palette.

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Ink on paper: a warm paper page and a near-black one, headings in ink, cyan links and quiet code. On Flexoki by Steph Ango, https://stephango.com/flexoki.

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Soft pastels for long sessions: a cool latte page by day and a deep mocha one at night, a mauve title, blue section heads, lavender quotes and a rosewater bold. An unofficial port of the Catppuccin palette.

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Indigo and clear: a centred title, level-2 headings on a solid blue band, serif headings over a sans body, blue bold and blue list markers. After Lapis by YiNN.

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Vivid and nocturnal: the classic dark purple-grey page with neon accents, and a warm cream day page with deeper ones. On the Dracula and Alucard palettes.

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Colours of an old woodblock print: Kanagawa's lotus paper by day and the deep ink of the wave at night, indigo and violet headings, a red bold and soft green strings. On the Kanagawa palette.

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Fresh and lively: level-2 headings on a mint pill, small markers before the smaller headings, a dashed rule and tinted quotes, with a calm sea-dark night. After Phycat by sumruler.

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Textus's default look without the heading marks: the same type and colours, with plain level-3 and level-4 headings.

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A typewritten draft: typewriter type on off-white paper, a narrow page, uppercase headings with section marks and a ribbon-red accent.
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