The codex in numbers
- 171
- colors
- 348
- Vol. Ⅰ plates
- 233
- Vol. Ⅱ patterns
- 120 · 120 · 108
- Vol. Ⅰ duos · trios · quartets
Fig. 1 — The Vol. Ⅰ workhorses
Colors ranked by how many of Vol. Ⅰ's 348 plates they appear in. Black is the most-printed color of all; after it, quiet paper tints do the heavy lifting — the loud colors are seasoning, not staples.
Data table
| Color | Japanese | Plates |
|---|---|---|
| Black | 黒色 | 23 |
| Raw Sienna | 檜皮色 | 19 |
| Pale Lemon Yellow | 淡卵色 | 19 |
| Sulpher Yellow | 蒸栗色 | 18 |
| Ivory Buff | 白茶 | 16 |
| Turquoise Green | 白緑 | 16 |
| Lemon Yellow | 金絲雀色 | 15 |
| Eosine Pink | 浅紅 | 14 |
| Cream Yellow | 卵色 | 14 |
| Yellow Orange | 柑子色 | 14 |
| Salvia Blue | 空色 | 13 |
| Antwarp Blue | 納戸色 | 13 |
Fig. 2 — The Vol. Ⅱ workhorses
The same ranking against Vol. Ⅱ's 233 patterns. In applied design the hierarchy flips to ink and paper: Black and White anchor a third of all patterns, with everything else far behind.
Data table
| Color | Japanese | Patterns |
|---|---|---|
| Black | 黒色 | 76 |
| White | 白色 | 71 |
| Neutral Gray | 銀鼠 | 21 |
| Naples Yellow | 淡黄蘗 | 18 |
| Ivory Buff | 白茶 | 16 |
| Pale King's Blue | 瓶覗 | 16 |
| Light Glaucous Blue | 深川鼠 | 16 |
| Spectrum Red | 赤色 | 15 |
| Red Orange | 朱色 | 13 |
| Sulpher Yellow | 蒸栗色 | 13 |
| Green | 緑色 | 13 |
| Olympic Blue | 浅縹 | 13 |
Fig. 3 — How hues pair
Every pair of hue families sharing a plate, across all 348 combinations. Orange is the great mixer; pinks and neutrals mostly keep their own company.
Darker cell — more plates pairing the two hues. Diagonal: same-hue pairings.
Data table
| Red | Pink | Orange | Brown | Yellow | Green | Blue | Violet | Neutral | |
|---|---|---|---|---|---|---|---|---|---|
| Red | 7 | 16 | 34 | 16 | 37 | 53 | 37 | 34 | 15 |
| Pink | 16 | 2 | 11 | 6 | 15 | 11 | 11 | 12 | 8 |
| Orange | 34 | 11 | 25 | 35 | 65 | 90 | 80 | 38 | 26 |
| Brown | 16 | 6 | 35 | 4 | 19 | 29 | 25 | 9 | 7 |
| Yellow | 37 | 15 | 65 | 19 | 14 | 74 | 47 | 19 | 14 |
| Green | 53 | 11 | 90 | 29 | 74 | 36 | 43 | 16 | 14 |
| Blue | 37 | 11 | 80 | 25 | 47 | 43 | 13 | 25 | 10 |
| Violet | 34 | 12 | 38 | 9 | 19 | 16 | 25 | 14 | 9 |
| Neutral | 15 | 8 | 26 | 7 | 14 | 14 | 10 | 9 | 3 |
Fig. 4 — Lightness × chroma
Every color in the dictionary, plotted by Lab lightness against chroma and drawn in its own ink. Only the yellows manage to be both bright and vivid — every other hue goes quiet as it lightens.
vertical: lightness L*
Data table
| Color | L* | C* |
|---|---|---|
| Hermosa Pink | 83 | 22 |
| Corinthian Pink | 80 | 27 |
| Cameo Pink | 77 | 18 |
| Fawn | 74 | 15 |
| Light Brown Drab | 64 | 14 |
| Coral Red | 70 | 46 |
| Fresh Color | 71 | 46 |
| Grenadine Pink | 67 | 56 |
| Eosine Pink | 67 | 48 |
| Spinel Red | 65 | 53 |
| Old Rose | 59 | 44 |
| Eugenia Red - A | 58 | 58 |
| Eugenia Red - B | 54 | 60 |
| Raw Sienna | 55 | 58 |
| Vinaceous Tawny | 53 | 63 |
| Jasper Red | 57 | 82 |
| Spectrum Red | 50 | 87 |
| Red Orange | 52 | 79 |
| Etruscan Red | 51 | 55 |
| Burnt Sienna | 46 | 57 |
| Ochre Red | 47 | 42 |
| Scarlet | 47 | 68 |
| Carmine | 44 | 75 |
| Indian Lake | 48 | 58 |
| Rosolanc Purple | 46 | 52 |
| Pomegranite Purple | 41 | 62 |
| Hydrangea Red | 43 | 47 |
| Brick Red | 42 | 58 |
| Carmine Red | 39 | 56 |
| Pompeian Red | 39 | 60 |
| Red | 38 | 57 |
| Brown | 35 | 37 |
| Hay's Russet | 31 | 39 |
| Vandyke Red | 30 | 49 |
| Pansy Purple | 28 | 46 |
| Pale Burnt Lake | 30 | 45 |
| Violet Red | 28 | 35 |
| Vistoris Lake | 33 | 21 |
| Sulpher Yellow | 93 | 22 |
| Pale Lemon Yellow | 95 | 34 |
| Naples Yellow | 92 | 37 |
| Ivory Buff | 86 | 27 |
| Seashell Pink | 88 | 21 |
| Light Pinkish Cinnamon | 84 | 34 |
| Pinkish Cinnamon | 78 | 39 |
| Cinnamon Buff | 84 | 46 |
| Cream Yellow | 82 | 55 |
| Golden Yellow | 74 | 57 |
| Vinaceous Cinnamon | 75 | 35 |
| Ochraceous Salmon | 71 | 33 |
| Isabella Color | 70 | 34 |
| Maple | 68 | 34 |
| Olive Buff | 78 | 25 |
| Ecru | 72 | 17 |
| Yellow | 95 | 96 |
| Lemon Yellow | 93 | 78 |
| Apricot Yellow | 89 | 89 |
| Pyrite Yellow | 74 | 50 |
| Olive Ocher | 75 | 62 |
| Yellow Ocher | 76 | 63 |
| Orange Yellow | 78 | 81 |
| Yellow Orange | 73 | 79 |
| Apricot Orange | 69 | 62 |
| Orange | 64 | 80 |
| Peach Red | 59 | 79 |
| English Red | 57 | 69 |
| Cinnamon Rufous | 57 | 49 |
| Orange Rufous | 55 | 60 |
| Sulphine Yellow | 67 | 61 |
| Khaki | 61 | 57 |
| Citron Yellow | 72 | 60 |
| Citrine | 66 | 55 |
| Buffy Citrine | 57 | 33 |
| Dark Citrine | 55 | 23 |
| Light Grayish Olive | 53 | 17 |
| Krongbergs Green | 55 | 22 |
| Olive | 52 | 42 |
| Orange Citrine | 50 | 44 |
| Sudan Brown | 50 | 32 |
| Olive Green | 46 | 28 |
| Light Brownish Olive | 48 | 23 |
| Deep Grayish Olive | 39 | 20 |
| Pale Raw Umber | 37 | 27 |
| Sepia | 34 | 31 |
| Madder Brown | 29 | 43 |
| Mars Brown Tobacco | 28 | 36 |
| Vandyke Brown | 24 | 24 |
| Turquoise Green | 85 | 18 |
| Glaucous Green | 80 | 10 |
| Dark Greenish Glaucous | 77 | 14 |
| Yellow Green | 81 | 50 |
| Light Green Yellow | 81 | 63 |
| Night Green | 73 | 67 |
| Olive Yellow | 65 | 38 |
| Artemesia Green | 58 | 13 |
| Andover Green | 51 | 8 |
| Rainette Green | 64 | 26 |
| Chromium Green | 58 | 24 |
| Pistachio Green | 56 | 19 |
| Sea Green | 65 | 49 |
| Benzol Green | 54 | 55 |
| Light Porcelain Green | 53 | 38 |
| Green | 58 | 38 |
| Dull Viridian Green | 53 | 51 |
| Oil Green | 58 | 47 |
| Diamine Green | 43 | 40 |
| Cossack Green | 45 | 36 |
| Lincoln Green | 36 | 22 |
| Blackish Olive | 33 | 14 |
| Deep Slate Olive | 19 | 11 |
| Nile Blue | 88 | 14 |
| Pale King's Blue | 82 | 18 |
| Light Glaucous Blue | 78 | 14 |
| Salvia Blue | 69 | 17 |
| Cobalt Green | 79 | 29 |
| Calamine Blue | 77 | 28 |
| Venice Green | 74 | 32 |
| Cerulian Blue | 55 | 36 |
| Peacock Blue | 53 | 52 |
| Green Blue | 54 | 34 |
| Olympic Blue | 53 | 31 |
| Blue | 43 | 50 |
| Antwarp Blue | 42 | 40 |
| Helvetia Blue | 35 | 38 |
| Dark Medici Blue | 45 | 11 |
| Dusky Green | 28 | 36 |
| Deep Lyons Blue | 29 | 43 |
| Violet Blue | 30 | 23 |
| Vandar Poel's Blue | 31 | 27 |
| Dark Tyrian Blue | 21 | 20 |
| Dull Violet Black | 8 | 35 |
| Deep Indigo | 6 | 22 |
| Deep Slate Green | 17 | 12 |
| Grayish Lavender - A | 73 | 21 |
| Grayish Lavender - B | 71 | 10 |
| Laelia Pink | 67 | 24 |
| Lilac | 62 | 30 |
| Eupatorium Purple | 52 | 48 |
| Light Mauve | 54 | 34 |
| Aconite Violet | 53 | 38 |
| Dull Blue Violet | 50 | 26 |
| Dark Soft Violet | 44 | 34 |
| Blue Violet | 39 | 48 |
| Purple Drab | 42 | 21 |
| Deep Violet / Plumbeous | 48 | 6 |
| Veronia Purple | 41 | 30 |
| Dark Slate Purple | 34 | 23 |
| Taupe Brown | 36 | 26 |
| Violet Carmine | 32 | 26 |
| Violet | 31 | 43 |
| Red Violet | 25 | 45 |
| Cotinga Purple | 18 | 36 |
| Dusky Madder Violet | 20 | 34 |
| White | 100 | 0 |
| Neutral Gray | 77 | 4 |
| Mineral Gray | 71 | 6 |
| Warm Gray | 67 | 5 |
| Slate Color | 28 | 9 |
| Black | 6 | 1 |
| Pale Purplish Vinaceous | 92 | 11 |
| Pale Cinnamon-Pink | 91 | 13 |
| Pale Ecru-Drab | 75 | 8 |
| Sea-foam Yellow | 92 | 22 |
| Dull Citrine | 54 | 23 |
| Pale Turtle Green | 83 | 34 |
| Grape Green | 69 | 40 |
| Pale King's Blue | 96 | 7 |
| Pale Methy Blue | 68 | 32 |
| Violet Ultramarine | 28 | 85 |
| Dark Perilla Purple | 22 | 23 |
| Dull Purplish Black | 23 | 19 |
Fig. 5 — The palette by hue
How the colors distribute across hue families — greens and blues dominate, true purples are scarce.
Data table
| Family | Colors |
|---|---|
| Red | 26 |
| Pink | 6 |
| Orange | 25 |
| Brown | 22 |
| Yellow | 21 |
| Green | 31 |
| Blue | 17 |
| Violet | 16 |
| Neutral | 7 |
Fig. 6 — How big a palette runs
Colors per plate, both volumes on one scale. Vol. Ⅰ holds to duos, trios and quartets and stops dead at four; Vol. Ⅱ's applied patterns spill past it — four and five colors are the working range, and a few reach nine. Different jobs, different breadth.
Data table
| Colors | Vol. Ⅰ | Vol. Ⅱ |
|---|---|---|
| 2 | 120 | 4 |
| 3 | 120 | 51 |
| 4 | 108 | 68 |
| 5 | 0 | 53 |
| 6 | 0 | 40 |
| 7 | 0 | 12 |
| 8 | 0 | 4 |
| 9 | 0 | 1 |
Fig. 7 — Wada's calendar of color
Vol. Ⅱ opens with a year of color — twelve monthly schemes, six patterns each. Here every month's distinct colors, lightest first. Spring runs richest (March fields 33 colors); high summer pares back to barely twenty.
Data table
| Month | Distinct colors |
|---|---|
| January | 31 |
| February | 29 |
| March | 33 |
| April | 26 |
| May | 21 |
| June | 25 |
| July | 21 |
| August | 23 |
| September | 21 |
| October | 25 |
| November | 24 |
| December | 23 |
Fig. 8 — The hands behind Vol. Ⅱ
The applied plates were designed by a named studio of artists — fourteen of them share the 135 credited patterns, each shown with the color they reached for most. The most prolific signed thirty, nearly a quarter of the section.
Data table
| Designer | Patterns | Signature |
|---|---|---|
| 木下茂 | 30 | White |
| 八島進 | 19 | White |
| 細野尚志 | 19 | Black |
| 稗田研二 | 15 | Spectrum Red |
| 岡部義郎 | 13 | White |
| 熊田早苗 | 7 | Black |
| 寺尾作次郎 | 7 | Black |
| 荒木明 | 6 | Black |
| 吉村幸一郎 | 5 | Dark Medici Blue |
| 和田三造 | 4 | Black |
| 西野弘 | 3 | Chromium Green |
| 小林太郎 | 3 | Spectrum Red |
| 松川桀二 | 2 | Red Orange |
| 吉村功一郎 | 2 | Eugenia Red - B |
Fig. 9 — What Wada called them
The last character of each Japanese color name. Beyond plain 色 “color”, the palette is steeped in 茶 tea browns and 鼠 mouse grays — Edo-period naming at work.
Data table
| Ending | Reading | Names |
|---|---|---|
| 色 | iro — “color” | 103 |
| 茶 | cha — “tea” | 19 |
| 鼠 | nezumi — “mouse gray” | 10 |
| 紫 | murasaki — “purple” | 6 |
| other | everything else | 33 |
Fig. 10 — How hues pair — Vol. Ⅱ
The same co-occurrence as Fig. 3, now across Vol. Ⅱ's 233 applied patterns. Their palettes run to nine colors, so almost every hue meets every other and the grid fills in where Vol. Ⅰ's stayed sparse — applied design mixes far more freely than the plates.
Darker cell — more plates pairing the two hues. Diagonal: same-hue pairings.
Data table
| Red | Pink | Orange | Brown | Yellow | Green | Blue | Violet | Neutral | |
|---|---|---|---|---|---|---|---|---|---|
| Red | 17 | 26 | 77 | 41 | 65 | 68 | 73 | 22 | 90 |
| Pink | 26 | 0 | 37 | 15 | 24 | 28 | 31 | 8 | 34 |
| Orange | 77 | 37 | 40 | 49 | 62 | 86 | 106 | 23 | 88 |
| Brown | 41 | 15 | 49 | 9 | 35 | 57 | 44 | 9 | 34 |
| Yellow | 65 | 24 | 62 | 35 | 21 | 84 | 75 | 23 | 83 |
| Green | 68 | 28 | 86 | 57 | 84 | 44 | 70 | 22 | 99 |
| Blue | 73 | 31 | 106 | 44 | 75 | 70 | 58 | 24 | 108 |
| Violet | 22 | 8 | 23 | 9 | 23 | 22 | 24 | 8 | 17 |
| Neutral | 90 | 34 | 88 | 34 | 83 | 99 | 108 | 17 | 61 |
Fig. 11 — Where Vol. Ⅱ's color goes to work
Past the twelve months, Vol. Ⅱ sorts its patterns by application — clothing and kimono take the largest share, with print, ceramics and woven textiles the smaller fields. Each is shown as its own palette, lightest first, with its pattern count.
Data table
| Application | Patterns | Colors |
|---|---|---|
| Clothes, Accessories | 50 | 85 |
| Kimono | 32 | 82 |
| Others | 26 | 80 |
| Book Design, Poster, Wrapping Paper | 22 | 58 |
| Earthenware, Lacquerware | 21 | 47 |
| Tapestry, Carpets | 10 | 34 |
Fig. 12 — The seasonal light curve
Average Lab lightness of each month's colors — the light arc behind Fig. 7's calendar, higher meaning paler. April and August turn palest, October darkest: a month-by-month swing rather than a smooth seasonal curve.
Data table
| Month | Avg L* |
|---|---|
| January | 63 |
| February | 57 |
| March | 57 |
| April | 69 |
| May | 60 |
| June | 62 |
| July | 58 |
| August | 69 |
| September | 59 |
| October | 56 |
| November | 58 |
| December | 59 |
Fig. 13 — How light each hue runs
Average lightness of every hue family. Pinks, yellows and oranges sit near paper; violets and blues brood darkest — the vertical spread Fig. 4 fans into a cloud, here reduced to nine marks.
Data table
| Family | Avg L* |
|---|---|
| Red | 46 |
| Pink | 73 |
| Orange | 71 |
| Brown | 46 |
| Yellow | 72 |
| Green | 61 |
| Blue | 45 |
| Violet | 39 |
| Neutral | 60 |
Fig. 14 — Which colors carry text
Every color read as a background: whether black or white body text clears WCAG AA (4.5 : 1) on it. Remarkably, all 171 carry one or the other — the lighter two-thirds take black, the darker third white, and just two sit on the seam where either works.
Data table
| Body text | Colors |
|---|---|
| Black text | 107 |
| White text | 62 |
| Either | 2 |