How harmonies are derivedHue offsets create the relationship
Color harmonies are geometric relationships around the hue circle. Complementary colors sit 180° apart. Analogous colors stay close together. Triadic colors use 120° spacing. This tool keeps the current saturation and lightness for hue-based harmonies so you can see the relationship without unrelated value changes.
Tetradic mode uses a rectangular four-color relationship at 0°, 60°, 180°, and 240° from the base hue. Split-complementary uses 150° and 210° instead of the direct complement. Monochromatic mode keeps one hue and varies lightness.
Practical useTreat the palette as roles, not equal slices
A complementary pair can create strong emphasis when one color dominates and the other is reserved for accents. Analogous palettes often feel cohesive for illustrations and branded surfaces. Triadic or tetradic palettes can support richer systems, but usually work better when one hue leads and the others have narrower jobs.
After choosing a relationship, move the palette into the Generator or Palette Visualizer and decide which colors should be background, surface, text, primary action, and accent.
Why harmony is not enoughMathematics cannot choose hierarchy for you
Colors can be perfectly spaced on a hue wheel and still make poor interface choices. Equal saturation everywhere can feel noisy. Similar lightness can make controls difficult to distinguish. A beautiful accent may fail as text. Harmony describes hue relationships; it does not guarantee readability, accessibility, brand fit, or visual balance.
Check likely foreground/background pairs before shipping. Do not rely on hue difference alone to communicate state, error, selection, or meaning.
Six modesChoose the relationship for the job
- Complementary
- Two hues 180° apart for strong contrast and accent relationships.
- Analogous
- Three neighboring hues at −30°, 0°, and +30° for cohesive color families.
- Triadic
- Three hues spaced by 120° for balanced variety.
- Tetradic
- Two complementary pairs forming a 60°/120° rectangle around the wheel.
- Split-complementary
- The base plus hues 150° and 210° away for contrast with less direct opposition.
- Monochromatic
- One hue and saturation with five lightness levels for restrained systems.
Related workflowTest the palette beyond the wheel