Au Clair de la Lune

Ink-black on warm paper with a single red — the broadsheet hierarchy that lets typography lead.

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.

Crust browns and butter on a flour-white surface — soft, appetizing, and nothing artificial.

Black on bone with a whisper of gold: the runway default that lets garments carry the color.

Slate green with chalk cream and a coral — nostalgic without being twee.

Timber and olive for homes that photograph in golden hour; nothing here competes with a good listing photo.

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

Coral, apricot and magenta on aubergine — the gradient sunset every event brand wants, decomposed into flat tokens.

Olive and straw with a rust accent — Mediterranean and unhurried; good for food, wine and hospitality.

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

Flame orange on charcoal — the sports and energy palette; one accent yellow for stats and highlights.