From Wada's dictionary, 1933
Wada combination 177
Its colours, with the book's names: Pale Burnt Lake · Buffy Citrine · Grayish Lavender - A. 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 6.2:1: AA, it reads.
On screen, the text #2f201f on the background #f5f4ff 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 #70750f stands 4.5:1 from the background (a button needs 3:1) and as a link reaches 4.6:1 (a word needs 4.5:1).
How to use it
- Proportion
Distribute, don't equalise: #f5f4ff on 60% of the screen, #b8b8ff on 30% (cards, bands, headers) and #70750f 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 #730f1f, where size forgives.
- The button
The accent #70750f stands 4.5:1 apart from the background: it works as a button, with text in #f6f6fd.
- Temperature
Warm and cool together: let one lead and the other point. Here the background #b8b8ff leads, and the accent #70750f 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 palette crosses both sides of the circle, active and passive. It carries the most tension and most needs one of the two to lead.
- Surface · blue
Blue recedes: it draws the eye inward rather than coming out to meet it. It holds a large surface without fighting whatever sits on top.
- Accent · yellow
Yellow points, but it loses the moment the ground stops being smooth and bright. On screen that means shadows, gradients and small type on top.
- 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.
- Characteristic
Blue and red, with violet skipped. It approaches the effect of the violet their mixture would produce.
- Characteristic
Yellow and blue, with green skipped. Goethe finds it poor: red is missing, and the nearness of green leaves it slight.
There is nowhere for the eye to rest: no neutral, no muted colour, no green. The whole palette asks for attention at once.
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#f9f7e7
- 100#eeecd0
- 200#dcd9ac
- 300#c3c181
- 400#a7a754
- 500#8a8e2c
- 600#70750f
- 700#575b02
- 800#404301
- 900#2b2c02
- 50#f7f6f5
- 100#ebebe8
- 200#d8d7d3
- 300#bfbeb8
- 400#a4a39c
- 500#8a8980
- 600#717068
- 700#585750
- 800#41403a
- 900#2a2a26
- 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 177 — bluenze.com/paletas */
:root {
--fondo: #f5f4ff;
--superficie: #b8b8ff;
--texto: #2f201f;
--tinta: #2f201f;
--texto-suave: #735e5d;
--titular: #730f1f;
--acento: #70750f;
--acento-texto: #f6f6fd;
--enlace: #6d740b;
--borde: #d1cfe6;
/* la lámina de Wada, tal cual */
--lamina-1: #730f1f;
--lamina-2: #888d2a;
--lamina-3: #b8b8ff;
--acento-50: #f9f7e7;
--acento-100: #eeecd0;
--acento-200: #dcd9ac;
--acento-300: #c3c181;
--acento-400: #a7a754;
--acento-500: #8a8e2c;
--acento-600: #70750f;
--acento-700: #575b02;
--acento-800: #404301;
--acento-900: #2b2c02;
--neutro-50: #f7f6f5;
--neutro-100: #ebebe8;
--neutro-200: #d8d7d3;
--neutro-300: #bfbeb8;
--neutro-400: #a4a39c;
--neutro-500: #8a8980;
--neutro-600: #717068;
--neutro-700: #585750;
--neutro-800: #41403a;
--neutro-900: #2a2a26;
--boton: #70750f;
--boton-encima: #5e6305;
--boton-pulsado: #4e5203;
--boton-apagado: #b6b5a5;
--foco: #707509;
--exito: #307c32;
--aviso: #a18a2c;
--error: #b44d3a;
--info: #1070b9;
}
@media (prefers-color-scheme: dark) {
:root {
--fondo: #232216;
--superficie: #302f1f;
--borde: #484835;
--texto: #efeee4;
--tinta: #efeee4;
--texto-suave: #b2b1a6;
--acento: #989b39;
--acento-texto: #25241a;
}
}