The colour wall.

Midnight Red is red at its heaviest: as dark as the family gets, nearly swallowed by black.

Shadow Red takes red down into the dark, dark and a little moody, sits closer to black than to its own family.

Deep in the red range, Deep Red is dark and weighty, good for grounding a palette.

Rich Red is a direct, unhedged red, the colour of stop signs and underlines, dialled up until it's deep and full-bodied, reads as premium rather than loud.

Bold Red runs red close to full strength, confident and saturated, built to anchor a single focal point.

This is red at working strength, a direct, unhedged red, the colour of stop signs and underlines, the colour in its truest, most balanced form.

Fair Red: a direct, unhedged red, the colour of stop signs and underlines. At this step it's even-toned and easygoing, a dependable UI colour.

Light Red is a direct, unhedged red, the colour of stop signs and underlines, clear and approachable, sits comfortably as a secondary tone.

Almost more paper than red, Soft Red is gentle and easy on the eye, good for large surfaces.

Pale Red is red thinned almost to paper: soft enough to sit behind content without competing with it.

Whisper Red holds just a trace of red, so faint it nearly disappears into the page.

Muted Scarlet trades saturation for restraint, quiet and understated, easy to live with at scale.

Deep in the scarlet range, Midnight Scarlet is as dark as the family gets, nearly swallowed by black.

Deep in the scarlet range, Deep Scarlet is dark and weighty, good for grounding a palette.

The scarlet is still there in Smoky Scarlet, just softened: muted almost to grey, sophisticated rather than dull.

Rich Scarlet is scarlet at its heaviest: deep and full-bodied, reads as premium rather than loud.

Dusky Scarlet is scarlet with the volume turned down, the saturation pulled back until it feels a little worn-in.

Bold Scarlet runs scarlet close to full strength, confident and saturated, built to anchor a single focal point.

scarlet with nothing held back: Bright Scarlet is punchy and high-energy, hard to look away from.

Vivid Scarlet is a brighter, hotter red built for moments that need urgency, dialled up until it's turned all the way up, use it sparingly and let it do the talking.

Scarlet is a brighter, hotter red built for moments that need urgency, the colour in its truest, most balanced form.

This is scarlet at working strength, a brighter, hotter red built for moments that need urgency, even-toned and easygoing, a dependable background choice.

Light Scarlet: a brighter, hotter red built for moments that need urgency. At this step it's clear and approachable, sits comfortably as a secondary tone.

Pastel Scarlet holds just a trace of scarlet, light and a little sweet, works best with a confident accent nearby.

Almost more paper than scarlet, Blush Scarlet is warm with the faintest flush of colour.

Shadow Scarlet is scarlet at its heaviest: dark and a little moody, sits closer to black than to its own family.

Dusty Scarlet is scarlet with the volume turned down, soft-spoken and a little faded, like weathered fabric.

Dusky Salmon is salmon with the volume turned down, the saturation pulled back until it feels a little worn-in.

Soft Scarlet is scarlet thinned almost to paper: gentle and easy on the eye, good for large surfaces.

Shadow Salmon is salmon at its heaviest: dark and a little moody, sits closer to black than to its own family.

Deep in the salmon range, Deep Salmon is dark and weighty, good for grounding a palette.

Rich Salmon is salmon at its heaviest: deep and full-bodied, reads as premium rather than loud.

Bold Salmon runs salmon close to full strength, confident and saturated, built to anchor a single focal point.

salmon with nothing held back: Bright Salmon is punchy and high-energy, hard to look away from.

Muted Salmon trades saturation for restraint, quiet and understated, easy to live with at scale.

Vivid Salmon is warm and a little coral, pink that's drifted toward orange, dialled up until it's turned all the way up, use it sparingly and let it do the talking.

Salmon is warm and a little coral, pink that's drifted toward orange, the colour in its truest, most balanced form.

This is salmon at working strength, warm and a little coral, pink that's drifted toward orange, even-toned and easygoing, a dependable background choice.

Light Salmon: warm and a little coral, pink that's drifted toward orange. At this step it's clear and approachable, sits comfortably as a secondary tone.

Almost more paper than salmon, Blush Salmon is warm with the faintest flush of colour.

The salmon is still there in Smoky Salmon, just softened: muted almost to grey, sophisticated rather than dull.

Pastel Salmon holds just a trace of salmon, light and a little sweet, works best with a confident accent nearby.

Pale Scarlet holds just a trace of scarlet, soft enough to sit behind content without competing with it.

Pale Vermilion holds just a trace of vermilion, soft enough to sit behind content without competing with it.

Deep in the brick range, Deep Brick is dark and weighty, good for grounding a palette.

Rich Brick is brick at its heaviest: deep and full-bodied, reads as premium rather than loud.

Bold Brick runs brick close to full strength, confident and saturated, built to anchor a single focal point.

brick with nothing held back: Bright Brick is punchy and high-energy, hard to look away from.

Muted Brick trades saturation for restraint, quiet and understated, easy to live with at scale.

Vivid Brick is an earthbound red, more clay than fire, dialled up until it's turned all the way up, use it sparingly and let it do the talking.

Brick is an earthbound red, more clay than fire, the colour in its truest, most balanced form.

Light Brick: an earthbound red, more clay than fire. At this step it's clear and approachable, sits comfortably as a secondary tone.

Almost more paper than brick, Blush Brick is warm with the faintest flush of colour.

Soft Vermilion is vermilion thinned almost to paper: gentle and easy on the eye, good for large surfaces.

Shadow Brick is brick at its heaviest: dark and a little moody, sits closer to black than to its own family.

The brick is still there in Smoky Brick, just softened: muted almost to grey, sophisticated rather than dull.

The vermilion is still there in Smoky Vermilion, just softened: muted almost to grey, sophisticated rather than dull.

Dusky Brick is brick with the volume turned down, the saturation pulled back until it feels a little worn-in.

This is brick at working strength, an earthbound red, more clay than fire, even-toned and easygoing, a dependable background choice.

Pastel Brick holds just a trace of brick, light and a little sweet, works best with a confident accent nearby.