#261d17

Chestnut and forest on cream read like a cloth-bound spine; the palette recedes so covers and type do the talking.

Ochre and walnut on unbleached stock, with teal as the counterpoint — a features-section palette with some heat in it.

Tomato, leaf and honey — the three colors of a produce stand, warm enough to make anything look fresh.

Orange, mango and mint — a sugar rush; keep the type black so it stays legible under all that color.

Rust, pine and sun — high-visibility earth tones that read at a distance and on a trail sign.

Orange, blue and green — the colors of playground equipment; loud, cheerful, obviously for kids.

Fifties-diner red and steel blue with a peach — nostalgic pop that still passes contrast.

Saffron and clove with a teal counterpoint — spice-market warmth, balanced so it doesn't go orange everywhere.

Pumpkin, straw and burnt gold on parchment — the autumn palette that still feels like a product, not a place-mat.

The three colours a maple goes through in October, on a warm white — loud, seasonal, and readable because the type is near-black.

Amber and oxblood on smoky brown — a fireside dark mode that photographs whisky, leather and wool.

Rust, honey and a moss green on cream — the orchard palette; the green keeps it from being all one temperature.

Sandstone and sand with a deep teal — the one cool note makes the warm colours look intentional rather than beige.

Cherry red, mint-teal and butter yellow — chrome-and-vinyl retro; the red does the work, the teal cools it.

Red through orange to yellow — the poured-drink gradient as flat tokens; use it left-to-right, never all at once.