From Wada's dictionary, 1933
Wada combination 200
Its colours, with the book's names: Carmine Red · Olive Buff · Chromium Green. 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 4.9:1: AA, it reads.
On screen, the text #2f201f on the background #f3f7e6 gives 14.3:1: AAA, reads with room to spare. APCA gives Lc 97: good for small text, the kind you read a paragraph of.
The accent #569b47 stands 3.1:1 from the background (a button needs 3:1) and as a link reaches 4.8:1 (a word needs 4.5:1).
Under Protanopia, your accent and your background drop to 3.0:1. 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: #f3f7e6 on 60% of the screen, #bcd382 on 30% (cards, bands, headers) and #569b47 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 #2f201f, 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 #a10b2b, where size forgives.
- The button
The accent #569b47 stands 3.1:1 apart from the background: it works as a button, with text in #2f201f.
- Temperature
Warm and cool together: let one lead and the other point. Here the background #bcd382 leads, and the accent #569b47 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 pale ones: muted tones that get along; running text needs an ink from outside, near black.
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 · yellow
Yellow across a large surface is a gamble. It is the least forgiving colour: the slightest drift towards green turns gold into dirt, and on screen that drift is supplied by compression or a gradient.
- Accent · green
Green is the colour of rest, so as an accent it points at nothing: the eye accepts it and moves on. If this palette needs something to stop the eye, this is not it.
- Heading · red
Red is the high point of the active side. In a small patch it does exactly what an accent is for: stopping the eye once.
- Characteristic
Yellow and red, with orange skipped between them. The characteristic pair he thinks best: serene and magnificent.
- Opposite
Opposite on the circle: together they complete what the eye asks for on its own. It is the only category Goethe approves without reservation.
- Adjacent
Adjacent on the circle, with nothing between them. Ordinary and agreeable: it says little, and it does not offend.
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#effaeb
- 100#def0d7
- 200#c1e0b6
- 300#9eca90
- 400#77b268
- 500#569b47
- 600#3a7e2e
- 700#28631e
- 800#194a12
- 900#0c3104
- 50#f6f7f5
- 100#eaebe9
- 200#d5d8d4
- 300#bbbfba
- 400#a0a59e
- 500#858a83
- 600#6c716a
- 700#545852
- 800#3d413c
- 900#282b27
- 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 200 — bluenze.com/paletas */
:root {
--fondo: #f3f7e6;
--superficie: #bcd382;
--texto: #2f201f;
--tinta: #2f201f;
--texto-suave: #755e5d;
--titular: #a10b2b;
--acento: #569b47;
--acento-texto: #2f201f;
--enlace: #367b2a;
--borde: #cfd4be;
/* la lámina de Wada, tal cual */
--lamina-1: #a10b2b;
--lamina-2: #bcd382;
--lamina-3: #66ab56;
--acento-50: #effaeb;
--acento-100: #def0d7;
--acento-200: #c1e0b6;
--acento-300: #9eca90;
--acento-400: #77b268;
--acento-500: #569b47;
--acento-600: #3a7e2e;
--acento-700: #28631e;
--acento-800: #194a12;
--acento-900: #0c3104;
--neutro-50: #f6f7f5;
--neutro-100: #eaebe9;
--neutro-200: #d5d8d4;
--neutro-300: #bbbfba;
--neutro-400: #a0a59e;
--neutro-500: #858a83;
--neutro-600: #6c716a;
--neutro-700: #545852;
--neutro-800: #3d413c;
--neutro-900: #282b27;
--boton: #569b47;
--boton-encima: #438836;
--boton-pulsado: #36752b;
--boton-apagado: #cad4c6;
--foco: #389f2a;
--exito: #2c7c2f;
--aviso: #a28a26;
--error: #b64b38;
--info: #1370b8;
}
@media (prefers-color-scheme: dark) {
:root {
--fondo: #1c2419;
--superficie: #263123;
--borde: #3e4a3a;
--texto: #e9f0e7;
--tinta: #e9f0e7;
--texto-suave: #acb3a9;
--acento: #61a651;
--acento-texto: #1f261c;
}
}