FontaineDayBoundlessForgottenStill Blue

Sea of Bygone Eras in Sunken Daylight

Palette

Click a swatch to copy its HEX; hover for the OKLCH value.

Reconstructed gradient

The gradient distilled from the scene, unrolled left to right by stop; the authored angle is 175° (used by the hero and exports), while gallery cards share a uniform 135° sweep.

0%7fe5ff38%2277e370%5869fa100%3571c3

Why it works

Loudness is decided by contrast, not by chroma. This is the most saturated picture in the library — median 0.153, achromatic pixels 0.00%, 99.2% one blue family — and it still reads as quiet, because the high chroma was raised across the whole frame, leaving nothing that stands out for it.

A median chroma of 0.153, not a single point

Chroma runs p50 0.153, p99 0.196, peak 0.245: half the pixels here are more vivid than most scenes' accent colours. But the lift is uniform — the upper water 0.183, the foreground reef 0.142, the most vivid patch 0.215, a spread of only 0.07. Chroma is a property of the environment here, not a device for emphasis. If you want rich without shrill, push every colour up together and leave no single richer one to serve as a target.

Zero grey, zero warmth — even the boundaries are hue

Achromatic pixels total 0.00%, and a 330°–90° warm search over the whole frame returns nothing at all: the water has filtered out the grey and the warmth alike. What is left for separation is a small swing of hue — the light shafts 217°, the water 257°, the most vivid patch 273°, the drifting bioluminescence 283°. Sixty-six degrees of travel carries every layer in the picture. The Salacia Plain study said the medium is a filter; this one is what that filter looks like opened all the way.

The brightest place is the highest, and it gives up its chroma

The brightest four thousand pixels average L 0.87 at chroma 0.102, spread across the shafts and scatter around (0.53, 0.55) and (0.78, 0.72) — nearly half the water's 0.183. Light arrives from above, so the shorter its path through water the less it is dyed, which makes "bright" a synonym for "near the surface" in this picture. Lightness therefore doubles as a depth gauge: the span from 0.44 to 0.82 reads as surface to seabed.

Take these colours with you

CSS variables, a Tailwind v4 theme or SVG — one click to copy into your project.

/* Sea of Bygone Eras in Sunken Daylight · Sea of Bygone Eras in Sunken Daylight — Teyvat Palette */
:root {
  --seafloor-blue: oklch(0.55 0.142 257); /* Seafloor Blue #3571c3 */
  --sunken-blue: oklch(0.58 0.183 257); /* Sunken Blue #2277e3 */
  --abyss-violet: oklch(0.59 0.215 273); /* Abyss Violet #5869fa */
  --whale-glow: oklch(0.65 0.19 283); /* Whale Glow #8379fd */
  --light-shaft: oklch(0.87 0.102 217); /* Light Shaft #7fe5ff */
  --gradient-sea-of-bygone-eras: linear-gradient(175deg, oklch(0.87 0.102 217) 0%, oklch(0.58 0.183 257) 38%, oklch(0.59 0.215 273) 70%, oklch(0.55 0.142 257) 100%);
}

A 1080×1350 PNG carrying the scene, its palette and every value — save it and post it as is.