Both slots held #026fde, so strings and numbers rendered in one color
and syntax highlighting lost the distinction entirely. It mattered less
when the theme shipped its own nvim and vscode files; now that both
generate from this palette, the collision is visible everywhere.
The green slot takes a violet. Lupine's hues sit at 210, 214, 224, 267
and 301, leaving one real gap between blue and magenta, and that gap is
the only place a new color fits without either crowding an existing hue
or breaking the blues-and-purples character. Its bright variant becomes
a lavender, which suits a theme named for the flower. Nothing here reads
as green; the slot keeps its ANSI name, not its usual hue.
Yellow, orange and cyan remain close to each other. Pulling those apart
means either warm hues or a wider spread than the theme allows, which is
a bigger change than this one.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CC9kSQv8ZEogaxDoeKBzL
The JPEG drew the wordmark in #358fff on pure white, matching neither
the accent nor the background. Every other theme's omarchy wallpaper is
a flat two-color image: the theme's background behind its accent. Lupine
now follows that, so the wallpaper, the lock screen, and the focused
window border are all one blue.
Recolored from the shared wordmark rather than redrawn, so the glyphs
land on the same pixels as every other theme. JPEG was the wrong
container for two flat colors anyway; at one bit per pixel the PNG is
2KB against 71KB, with no ringing around the letters.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CC9kSQv8ZEogaxDoeKBzL
Drops city, lavender-bloom, dusk-horizon, purple-mountains, lake-dawn,
and snowy-dawn, then renumbers the survivors so the sequence stays
contiguous. The remaining set is uniformly pale, which is what a light
theme needs; the cut ones were mid-tone or saturated enough that the
bar and window borders lost contrast against them.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CC9kSQv8ZEogaxDoeKBzL
Rename the palette keys to the canonical background/foreground names the
resolver actually reads. The short bg/fg spellings were never aliased, so
every derived key was silently falling back.
Fill in the orange and brown slots too. Lupine is a deliberately cool,
near-monochrome blue palette, so both stay in family rather than
introducing warm hues the theme never had.
Drop neovim.lua and vscode.json. They pinned third-party extensions that
had to be installed separately; the generated templates cover both from
colors.toml alone.
Co-Authored-By: Claude Opus 5 (1M context) <noreply@anthropic.com>
Claude-Session: https://claude.ai/code/session_018CC9kSQv8ZEogaxDoeKBzL
Convert the Lupine theme to the semantic color system introduced in the
quattro/Omarchy 4 line:
- Rewrite colors.toml from the old accent/foreground/background/color0-15
scheme to the semantic palette (mode, bg/fg ramp, named ANSI hues, and
bright_* variants). The chromatic palette is preserved exactly; only the
keys are renamed.
- Replace the empty light.mode marker with mode = "light".
- Drop the hand-shipped btop.theme and chromium.theme; both are now
generated from default/themed/*.tpl at theme-set time.
Selection now follows the convention used by the other light themes
(selection_foreground = bright_fg over a light selection background)
instead of the previous inverted dark selection bar.
