Evorrah · Design OS Lab · Estudio de Color
Emma Molina — the delivered card, unchanged in every respect but one.
This is a controlled test. Exactly one value differs between the eleven cards on this page: the champagne. The marfil ground and the tierra ink are held fixed throughout, and so is every dimension, type size, letter-space and line break — including the three hand-broken date lines, reproduced at the same forced breaks the delivered file uses. Nothing else moves, so any difference you see is the colour and only the colour.
Card 00 is the card that is live today. The other ten are cloned from it at load rather than re-typed, because eleven hand-copies would be eleven chances to introduce a difference, and a colour study whose cards differ in anything but colour is not a colour study.
All eleven at once
Scrolling through eleven cards one after another tells you almost nothing — the eye adapts between them. Seen together, the groups separate immediately: the warm earths hold the suite's character, the cool blues and greens make the same card feel like a different house, and two of the eleven barely register at all. Click any card to jump to it.
Measured, not judged
The accent is not only ink on paper here — it also sets “Catedral Metropolitana,” which is display-sized type and therefore needs 3:1 against the marfil to be legible. The delivered champagne measures 2.08, which is why that line currently reads as decoration rather than as the first fact on the card. This table is generated at load from the colours actually in use.
A fail here is not a reason to reject a colour. It is a reason to set the venue line in that colour's declared darker value — the last column — and keep the true colour for the stripes, the rules and the initial. That is exactly what the portfolio page already does for the champagne.
| Colour | Hex | On marfil | Venue line | Temperature | Declared darker | Clears 3:1 |
|---|
Catedral Metropolitana
Buenos Aires
Renata Molina & Javier Salas
tienen el honor de invitarles a celebrar
el bautizo de su hija
Molina
Domingo 11 de Octubre
12:00 Horas
Faena Hotel · Puerto Madero
14:00 H
Confirme antes del
27 de Septiembre
Here so the ten below are judged against the real thing rather than a memory of it. The champagne is a warm mid-gold that behaves like brass under low light: it flatters the tierra ink, it keeps the suite unmistakably ceremonial rather than nursery, and it is the reason the card reads as an adult document about a child.
What it costs you is twofold. It is the most common accent in event stationery, so the card is handsome without being identifiable. And at 2.08:1 it is the palest accent on this page — the stripes carry it beautifully, the venue line does not carry it at all.
Read as a group rather than a list, they fall into four families and only three of them are real options.
The warm earths — terracota, borgoña, cobre-adjacent rosa antiguo. These are the colours that keep the suite recognisably itself. Terracota is the closest thing here to a straight upgrade on the champagne: same warmth, more of it, and at 2.97 it is nearly as pale so it changes nothing about how the card is printed. Borgoña is the one with the most authority — it reads as a formal religious document, clears contrast comfortably at 7.50, and is the only accent on this page that would still be legible photocopied.
The greens — olivo, salvia, verde botella. Olivo is warm and entirely safe. The other two are cool, and the direction explicitly refused cool tones; salvia is also close enough to menta to touch the “no nursery pastels” refusal from the other side. Verde botella is the strongest of the three as a colour and the furthest from the brief.
The cools — azul porcelana, azul tinta, lavanda gris. All three break a stated refusal, and porcelana sits directly next to the celeste the direction rules out by name. Shown because a client who asks for blue at a baptism is asking for something specific and it is better to have the adult version on file than to improvise it. None should be chosen without reopening the direction first.
Grafito is the control, not a candidate. It proves the card's structure works with no colour at all — which is worth knowing, because it means the arch, the stripes and the type are doing the work and the accent is decorating rather than holding it up.
If you want one recommendation: terracota. It is warm, it is not the default champagne, it breaks none of the six refusals, it is within a hair of the baseline's lightness so nothing else on the card has to move, and it reads as Buenos Aires in October rather than as generic luxury gold. Set the venue line in its declared darker value and the card also gains a legible first line, which the delivered version does not have.