Josef Albers spent 26 years painting nested squares to prove that color is not a fixed property but a perceptual event. The Homage to the Square series — over 1000 panels in concentric saturated bands on warm cream gesso — became the canonical study of how adjacent hues alter each other.

Translated into interface, the system reads as Bauhaus-modernist discipline: warm cream page, hairline rules, zero radii, sans-serif typography spaced with German precision, and a small set of fully saturated chromatic blocks used as both structure and accent. Every color earns its place by interacting with its neighbour.