Katsushika Hokusai · c. 1831

Under the Wave off Kanagawa (The Great Wave)

Cream paper, three blues, and one imported chemical that changed Japanese printmaking.

Multiple impressions; Metropolitan Museum of Art and others

Tap any swatch to copy. Ground colours are the three largest areas of the canvas; accent colours are chosen for intensity and may cover very little — which is exactly why they carry the painting. Percentages are each colour's share of the whole canvas, so these six will not add up to 100%: they are six of the 26 distinct colour regions measured, not a division of the surface. How these were sampled

Under the Wave off Kanagawa (The Great Wave) by Katsushika Hokusai, c. 1831
Katsushika Hokusai, Under the Wave off Kanagawa (The Great Wave) (c. 1831). Multiple impressions; Metropolitan Museum of Art and others. Public domain

The palette is startlingly economical: the warm cream of the paper carries most of the surface, and the entire drama comes from a narrow band of blues. There is no green, no red, no yellow accent. A designer copying this scheme gets a lesson in how far a single hue family plus a warm neutral can go.

The blue itself is the historical event. Prussian blue was a European laboratory accident from around 1704–06 in Berlin, and it reached Japan through Dutch traders at Nagasaki. It was far too expensive for print runs until Chinese production made it affordable in the late 1820s — which is precisely when this series appeared.

What the artist actually used

Prussian blue (bero-ai / ベロ藍)
The dominant blue. Named for Berlin, its city of origin, shortened in Japanese from 'Berlin indigo'.
Traditional indigo and plant colourants
Used alongside the imported blue in ukiyo-e printing of this period.

Has the colour changed?

This is a woodblock print, not a painting, so surviving impressions differ from one another as much as from the original — inking varied between pulls, and many sheets have faded unevenly with light exposure. Treat these values as one impression's reading rather than a single definitive palette.

Sources

Accessibility

WCAG contrast ratios between every color pair. Use the strongest combinations for text; the weakest ones make good decorative backgrounds.

Strongest pair: #F6EFD9 on #223F639.32:1 (AAA)

  • #F6EFD9·#F8EAC71.04:1Fail
  • #F6EFD9·#DCE7D91.11:1Fail
  • #F6EFD9·#E5B6961.59:1Fail
  • #F6EFD9·#2C638C5.59:1AA
  • #F6EFD9·#223F639.32:1AAA
  • #F8EAC7·#DCE7D91.07:1Fail
  • #F8EAC7·#E5B6961.53:1Fail
  • #F8EAC7·#2C638C5.38:1AA
  • #F8EAC7·#223F638.98:1AAA
  • #DCE7D9·#E5B6961.44:1Fail
  • #DCE7D9·#2C638C5.04:1AA
  • #DCE7D9·#223F638.41:1AAA
  • #E5B696·#2C638C3.51:1AA Large
  • #E5B696·#223F635.85:1AA
  • #2C638C·#223F631.67:1Fail
How to read this
AAA
Passes WCAG 2.1 AAA for normal text — the highest accessibility bar.
AA
Passes WCAG 2.1 AA for normal text. Standard production requirement.
AA Large
Passes WCAG 2.1 AA for large text only (18pt+ or 14pt+ bold). Avoid for body copy.
Fail
Below WCAG 2.1 AA. Fine for decorative use — not for text.

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Studio

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Library

Further reading

  • A Dictionary of Color Combinations by Sanzo Wada — book cover

    Sanzo Wada

    A Dictionary of Color Combinations

    The 2010 Seigensha republication of the 1933 original. Japanese import.

    Every combination in it is already browsable free here, hex values and all. Buy this one for the object rather than the data — Seigensha's matte plates and Japanese binding, or a citable copy of the 1933 original. If you want plates this archive doesn't have, Vol. 2 is the one.

  • A Dictionary of Color Combinations Vol. 2 by Sanzo Wada — book cover

    Sanzo Wada

    A Dictionary of Color Combinations Vol. 2

    Seigensha, 2020. Japanese import.

    Wada's 1935–1938 follow-ups: 72 plates on the Japanese seasons and 165 drawn from early-century fashion, interior, and graphic design. Not in Vol. 1. Not in this archive. The book itself is a design object — Japanese binding, matte pages, zero captions.

  • Interaction of Color by Josef Albers — book cover

    Josef Albers

    Interaction of Color

    50th Anniversary Edition, Yale University Press.

    The most important book on how colors behave next to each other. Still the default reference in art schools.

Torn between the two Wada dictionaries? Vol 1 vs Vol 2, compared plate by plate →

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