From Wada's dictionary, 1933
Wada combination 137
Its colours, with the book's names: Etruscan Red · Cinnamon Buff · Pistachio 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 3.3:1: only good for large text.
On screen, the text #2f201f on the background #fff3e7 gives 14.3:1: AAA, reads with room to spare. APCA gives Lc 96: good for small text, the kind you read a paragraph of.
The accent #237a3e stands 4.9:1 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: #fff3e7 on 60% of the screen, #ffbf6e on 30% (cards, bands, headers) and #237a3e 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
No pair on the plate read as text (the best gave 3.3:1). That is why body text goes in #2f201f, a near-neutral ink tinted with the palette's hue: it is not in the book, and it is needed.
- The button
The accent #237a3e stands 4.9:1 apart from the background: it works as a button, with text in #fcf5ef.
- Temperature
Warm and cool together: let one lead and the other point. Here the background #ffbf6e leads, and the accent #237a3e 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. Though this one is not: its mean chroma is 55. The label describes the group in the book, not a measurement of this combination — nearly half the pale group is not pale.
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 · orange
Orange fills a surface with energy and never lets go. It works if the rest of the palette keeps quiet; otherwise it tires before the first screenful is over.
- 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.
- Adjacent
Adjacent on the circle, with no colour between them to keep them apart. They are saved by proportion: one has to lead and the other to follow.
- 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.
- 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#edfaee
- 100#daf1dd
- 200#bbe0c0
- 300#96cb9e
- 400#6db27a
- 500#46995a
- 600#237a3e
- 700#196431
- 800#0c4a21
- 900#023213
- 50#f5f7f5
- 100#e9ece9
- 200#d4d8d5
- 300#bac0bb
- 400#9ea59f
- 500#838b84
- 600#6a716b
- 700#525953
- 800#3c413d
- 900#272b28
- 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 137 — bluenze.com/paletas */
:root {
--fondo: #fff3e7;
--superficie: #ffbf6e;
--texto: #2f201f;
--tinta: #2f201f;
--texto-suave: #755e5c;
--titular: #c9303e;
--acento: #237a3e;
--acento-texto: #fcf5ef;
--enlace: #297f42;
--borde: #e1cfbc;
/* la lámina de Wada, tal cual */
--lamina-1: #c9303e;
--lamina-2: #ffbf6e;
--lamina-3: #56aa69;
--acento-50: #edfaee;
--acento-100: #daf1dd;
--acento-200: #bbe0c0;
--acento-300: #96cb9e;
--acento-400: #6db27a;
--acento-500: #46995a;
--acento-600: #237a3e;
--acento-700: #196431;
--acento-800: #0c4a21;
--acento-900: #023213;
--neutro-50: #f5f7f5;
--neutro-100: #e9ece9;
--neutro-200: #d4d8d5;
--neutro-300: #bac0bb;
--neutro-400: #9ea59f;
--neutro-500: #838b84;
--neutro-600: #6a716b;
--neutro-700: #525953;
--neutro-800: #3c413d;
--neutro-900: #272b28;
--boton: #237a3e;
--boton-encima: #05682e;
--boton-pulsado: #025524;
--boton-apagado: #a5b1a6;
--foco: #107b39;
--exito: #387b37;
--aviso: #a08a34;
--error: #af513e;
--info: #1070b9;
}
@media (prefers-color-scheme: dark) {
:root {
--fondo: #19241b;
--superficie: #233225;
--borde: #3a4b3c;
--texto: #e8f0e9;
--tinta: #e8f0e9;
--texto-suave: #aab3ab;
--acento: #54a767;
--acento-texto: #1d261e;
}
}