From Wada's dictionary, 1933
Wada combination 234
Its colours, with the book's names: Cinnamon Buff · Pale Raw Umber · Pale King's Blue. The values are the book's; the roles and advice are ours.
Adapted for screen
The same hue as the plate with the lightness moved to where an interface needs it: the background rests, the surface keeps the colour from the book and the accent earns the button. Each role says which colour it comes from and what was done to it. Click any to copy.
On a website
This is your colour with a whole screen to fill.
This paragraph is here so you can see real text on a real background, which is where half of the pretty palettes fall over. If it's hard to read, now you know. And this is a link.
A card
Secondary surfaces use the support colour. If it doesn't separate from the background, the hierarchy is gone.
Measured, before and after
On the plate, the best pair of colours reads at 7.7:1: AAA, reads with room to spare.
On screen, the text #29231c on the background #e1faf7 gives 14.2:1: AAA, reads with room to spare. APCA gives Lc 96: good for small text, the kind you read a paragraph of.
The accent #b77f31 stands 3.2:1 from the background (a button needs 3:1) and as a link reaches 4.8:1 (a word needs 4.5:1).
Under Deuteranopia, your accent and your background drop to 2.9:1. The button stops standing out: give it a border, change the lightness, or don't rely on colour alone to mark it.
How to use it
- Proportion
Distribute, don't equalise: #e1faf7 on 60% of the screen, #abf5ed on 30% (cards, bands, headers) and #b77f31 on 10%, only on buttons and links. A colour loses force the more surface it covers; what looks intense on the plate softens at full screen.
- Text
Body text goes in #29231c, a near-neutral ink tinted with the palette's hue, even though the plate had a pair that read: a saturated colour as text tires by the third line. The book's colour enters through the heading, in #5e4017, where size forgives.
- The button
The accent #b77f31 stands 3.2:1 apart from the background: it works as a button, with text in #29231c.
- Temperature
Warm and cool together: let one lead and the other point. Here the background #abf5ed leads, and the accent #b77f31 is the first thing the eye will look for.
- How many
Three colours is the comfortable measure: background, text and one accent. Don't add a fourth unless it earns its place by contrast or by hue.
- In the dictionary
In the dictionary it sits among the contrasting-hue sets: hues deliberately set against each other. The contrast is already there; don't force it with shadows or blacks. It is one of the mixed-light ones: it already brings hierarchy. Keep it on screen: lightest at the back, darkest in front.
Goethe's reading
What this combination conveys, and why.
Wada tells you which colours go together. Goethe, a century earlier, explains why a combination means something or means nothing, and what each colour does depending on how much of the screen it takes. His circle has six colours and three oppositions, and every verdict below carries the paragraph it comes from.
The whole palette sits on the active side of the circle: the colours that advance, warm and push outward.
- Surface · green
Green is where the eye rests. Goethe says whoever looks at it neither wishes nor is able to imagine anything beyond it, which is why it was the colour for rooms you live in. In an interface that is precisely a background.
- Accent and Heading · orange
Orange in a small patch is the accent that needs no explaining: it advances, it is seen, and it does not need size to do it.
- Same sector
Both fall in the same sector of the circle. There is no hue contrast, so whatever separates them will have to be lightness.
- Characteristic
Characteristic by geometry — there is a colour skipped between the two. But Goethe judges only four pairs in this group, and this is not one of them.
- Characteristic
Characteristic by geometry — there is a colour skipped between the two. But Goethe judges only four pairs in this group, and this is not one of them.
The kit for building it
A brand needs four colours; an interface needs a good deal more. This is what you'd otherwise invent by hand once you take four hex codes into the editor.
- 50#fff5ea
- 100#fee7d1
- 200#f4d1ad
- 300#e3b683
- 400#ce9957
- 500#b77f31
- 600#986518
- 700#794e08
- 800#5b3901
- 900#3c2500
- 50#f7f6f5
- 100#edebe8
- 200#dad7d3
- 300#c3bdb8
- 400#a9a29c
- 500#8f8881
- 600#756e68
- 700#5c5650
- 800#443f3a
- 900#2d2926
- Normal
- Hover
- Pressed
- Disabled
- Focus
- Success
- Warning
- Error
- Info
The same colour, at night.
The background isn't pure black: it carries a little of your hue. That's what separates a designed dark mode from one that looks like a fault.
A button/* Wada combination 234 — bluenze.com/paletas */
:root {
--fondo: #e1faf7;
--superficie: #abf5ed;
--texto: #29231c;
--tinta: #29231c;
--texto-suave: #6a625a;
--titular: #5e4017;
--acento: #b77f31;
--acento-texto: #29231c;
--enlace: #946110;
--borde: #b7d8d4;
/* la lámina de Wada, tal cual */
--lamina-1: #ffbf6e;
--lamina-2: #5e4017;
--lamina-3: #abf5ed;
--acento-50: #fff5ea;
--acento-100: #fee7d1;
--acento-200: #f4d1ad;
--acento-300: #e3b683;
--acento-400: #ce9957;
--acento-500: #b77f31;
--acento-600: #986518;
--acento-700: #794e08;
--acento-800: #5b3901;
--acento-900: #3c2500;
--neutro-50: #f7f6f5;
--neutro-100: #edebe8;
--neutro-200: #dad7d3;
--neutro-300: #c3bdb8;
--neutro-400: #a9a29c;
--neutro-500: #8f8881;
--neutro-600: #756e68;
--neutro-700: #5c5650;
--neutro-800: #443f3a;
--neutro-900: #2d2926;
--boton: #b77f31;
--boton-encima: #a36d1f;
--boton-pulsado: #8c5d16;
--boton-apagado: #dbcec2;
--foco: #bf7c00;
--exito: #307c32;
--aviso: #a18a2c;
--error: #b34d3a;
--info: #1170b8;
}
@media (prefers-color-scheme: dark) {
:root {
--fondo: #292016;
--superficie: #382c1f;
--borde: #524435;
--texto: #f5ede5;
--tinta: #f5ede5;
--texto-suave: #b8afa6;
--acento: #c48a3c;
--acento-texto: #2a221a;
}
}