Hey, the link is basically in the lightness and saturation. Those frescoes had to work in low light, so the pigments are muted, almost like #A89B8F or #C8BFAF. In digital we mimic that by using mid‑tone neutral backgrounds, like #E8E8E8, and then pick accent colors that sit a few steps away on the color wheel. It’s all about keeping negative space alive; the ancient masters did it with natural pigments, we do it with hex codes and grid spacing. So the thread? Consistent contrast and an eye for the subtle shift that makes the whole layout feel balanced.