The Dark Art of Designing for Dark Mode

From a talk I gave on September 20, 2025, at XO Ruby New Orleans.

If you use dark mode on any of your devices—or even if you don’t—you’ve probably seen a lot of interfaces and websites in dark themes.

Framer, Google Fonts, Linear’s website, and many others showcase dark mode designs, even when you view them with “light mode” on:

Screen captures of three websites are layered on top of each other, each appearing with a dark mode look and feel: Google Fonts, Framer, and Linear.

There’s a surprising amount happening here. Even as a professional designer who uses dark mode all day every day, I didn’t fully intuit what design principles to follow when designing for dark mode.

After adding dark mode to several client products, I’ve gathered useful guidelines to follow when designing for dark mode.

Color terminology 101

Before we get to guidelines and the Dark Mode Dark Arts, let’s step back and define some key color terminology.

There are many ways to talk about, identify, and work with color. A lot of how we talk about and work with color depends on the medium.

  1. CMYK, color spaces, Pantone - These may indicate you’re dealing with printed materials.
  2. Subtractive color vs. additive color - Pigmented color (paint, ink, etc.) is subtractive, where mixing all colors gets you something brown or black. Colored light (theater lighting, etc.) is additive—mixing all colors gets you white light.
  3. P3 and other color gamuts - Color gamuts often come into play when we’re dealing with digital devices and how many colors they can display.
  4. HSL / HSB / RGB / RGBa / Hex - Any and all of these are used on the web and when designing software.

Since we’re talking about software UI and dealing with color on screens, we’ll focus on #4—specifically HSB, (hue, saturation, and brightness), which is what I use to manipulate color when designing.

All color is a result of how our eyes physically process light waves. Each color has a different wavelength in the spectrum of light.

A chart shows a list of colors in the left column with their respective wavelengths in the right column: red (650-800nm), orange (590-640nm), yellow (550-580nm), green (490-530nm), blue (460-480nm), indigo (440-450), and violet (390-430nm). To the right of the chart is a rainbow ring of all the colors.

In color theory, we often talk about “the color wheel” which is really just the spectrum of light twisted around so that the violet and red ends are joined.

Hue is often what we mean when we say “color”—like red, green, blue, yellow. Hues have different wavelengths in the spectrum of light. Hue is the “H” value in both HSL and HSB.

Here you can see the different H values for each color:

Four color swatches with their H or hue values beneath each. From left to right: red (H: 359), green (H: 103), blue (H: 209), yellow (H: 45)

Saturation can also be called a color’s intensity. It’s a measurement of how different a color is from pure gray. Saturation isn’t really a matter of light and dark—it’s more how pale or intense the color is.

Here you can see high saturation on the left moving to low saturation on the right, with a constant hue—or H value—of 359:

Four color swatches move from high saturation on the left side with a bright, intense red to low saturation on the right side with a pinkish gray. Under the most saturated red on the far left are the values H:359 and S:99. The second swatch from the left is a dark pink color with the values H:359 and S:50. The third swatch is a dusty pink with the values H:359 and S:25, and the far right grayish swatch has the values H:359 and S:5.

When we talk about how light or dark a color is, we’re talking about brightness. The higher the brightness of a color, the more light it emits on a screen.

Here’s a chart showing how brightness and saturation impact a color (from Leigh Cotnoir):

A grid of ~80 color swatches shows white in the top left corner, black in the bottom left corner, intense saturated red in the top right corner, and dark burgundy reds in the lower right quadrant. The grid is labeled on the x axis as moving from low saturation to high saturation (left to right). The y axis of the grid moves from low brightness on the bottom to high brightness at the top.

When I work with clients on design projects, I’m often given just two or three core brand colors from which I derive a full color ramp of more shades. HSB is what I use to do that.

Defining the extended color ramps for a brand’s palette is a crucial early step in design projects to ensure there are enough shades to work with in order to meet accessibility guidelines for color contrast.

On the right is a color ramp of 11 different purple swatches with hex codes and contrast values inside each square. Every color in the ramp is purple in hue, with very light-colored purples at the top moving to much darker purples at the bottom.

I manipulate the saturation and brightness of a brand color to make a color ramp with many steps. For this purple palette, the hue—the H value—stays the same.

As you move from top to bottom (from 50-950):

  • Hue stays the same
  • Saturation increases
  • Brightness decreases

This mimics how light and shadow impact color in the real world. In these examples from Erik Kennedy, the area of shadow has higher saturation and lower brightness than the area not in shadow:

Two photographs from Erik Kennedy's article about color show colors in the real world. On the left is a street lamp casting a shadow against an orange wall, with color swatches showing two oranges—one taken from the orange wall in sunlight and one taken from the area of the street lamp's shadow against the wall. On the right is a street scene showing a palm tree casting a shadow against a blue wall as a man walks past. Two color swatches show the blue of the wall in sunlight vs. the darker blue where the tree is casting its shadow.

Color and accessibility

Now that we’ve talked about hue, saturation, and brightness, let’s cover some basic accessibility guidelines when it comes to color.

Fortunately, there are some well-documented accessibility standards we can follow. If you’re not familiar with WCAG, it stands for the Web Content Accessibility Guidelines. WCAG standards aim to make web content more accessible to people with visual, auditory, physical, cognitive, and neurological impairments. So it’s not just about color.

WCAG supplies us with guidelines for color contrast ratios—the difference in contrast between two colors. For example, in the second button the dark text has a contrast ratio of 9.5 to 1 against the green button background. The same green button background has a contrast ratio of only 1.2:1 with the gray page background.

Three buttons with color swatches showing the text vs. the background, the button background vs. the page background, and the color contrast ratios for each. The top button has white text against a royal blue background for a contrast ratio of 4.5:1, and the blue button against the gray page background has a ratio of 4.1:1 (both pass). The second button has dark green text against a light green background, with 9.5:1 contrast ratio for text, but the green background fails contrast against the gray page background with only 1.2:1 contrast ratio. The last button has a turquoise background with white text, for 3.1:1 text contrast (passes) and 2.8:1 contrast of the button against the gray page background (fails).

Did you know that there are several different types of colorblindness? It’s another thing to factor in when working with color. As you can see with some of these oranges, yellows, greens, and reds, color contrast might help with legibility, but high color contrast alone may not help with color differentiation for certain types of color blindness:

8 different color ramps showing grays, reds, oranges, yellows, and greens show together under the label "Normal color vision", followed by the same color ramps with simulated colorblindness for deuteranopia and deuteranomaly where reds and greens are more difficult to tell apart.

8 color ramps showing grays, reds, oranges, yellows, and greens show under the label "Normal color vision" followed by the same color ramps under a colorblindness simulator labeled "Protonopia" and "Protanomaly"—types of color blindness that make yellows and greens look very similar.

That’s why one of the standards from WCAG is not to rely on color alone as the only way to convey information.

WCAG cheat sheet:

  • Don’t use color as the only way to convey information
  • 3:1 - Buttons against a background
  • 3:1 - Large text (24px+)
  • 4.5:1 - Normal text against a background (any size)
  • 3:1 - Icons & graphs, any size
  • 3:1 - Focus rings, UI elements, or other signifiers

But even if all you’re going to do is comply with contrast ratios, it’s a lot to consider. Especially since this is not a complete list.

As if that’s not complicated enough, when you add dark mode to your website or application, you effectively double the amount of color combinations that must be accessible.

I’m not going to go in depth about the solutions for dealing with this complexity, but if you’re interested in knowing more, you can read my post on setting up color systems with color variables.

Color + your brain

Color perception and relativity

I said earlier that all color is a result of how your eyes physically process light waves. That’s true. What’s also true is that colors are the way your brain by use of your eyes interprets those colors in a given context.

Color is perception. Yes—the physical mechanisms like rods and cones in your eyes and wavelengths of light—but there’s an added influence given how our brains process those physical inputs, like:

  • Proximity to other colors
  • The color temperature and amount of light in our given context
  • The way light reflects off of something (your glass phone screen, shiny vs. matte paper, etc.)

This could mean that the kind of light a color is seen in impacts the colors we think we see.

Is this dress black and blue? Or is it white and gold?

The dress from a popular meme of 'is this dress blue and black? or white and gold?' appears 3 times in slightly different lighting emphasizing either the perspective that it's blue and black (higher saturation and contrast) or white and gold (lower light, lower contrast and lower saturation) to illustrate the point that color perception is contextual.

I bet you have some personal experience with this if you’ve ever looked at your phone screen when you’re in a dark room.

A man in a dark room with a bright light shining on his face lifts his head off a pillow with raised eyebrows and very squited eyes. Above him in meme-style text is written "When I wake up to check my phone and my brightness is higher than 2%."

Our color perception is influenced quite literally by what colors appear next to each other. Many such experiments in color and perception were designed by Joseph Albers in his book Interaction of Color.

For example, focus your eyes on the small rectangle in the center of the top (blue) half of this image. After your eyes rest there for a few moments, the small rectangle in the center of the bottom (red) half appears similar in color to the one you’re focusing on.

A large blue and large red rectangle with small rectangles inside them. A small blue rectangle inside the large blue rectangle is labeled "1" and so is a blue rectangle in the upper left of the large red rectangle, indicating that both the "1" rectangles are the same color, even though we don't perceive them that way. A small brown rectangle at the bottom left of the large blue rectangle is labeled "2" as is a reddish rectangle in the center of the large red rectangle. It appears very brown against the dark blue—very different than against the large red rectangle.

In fact they are very different colors. But we don’t perceive them that way because of the field of color surrounding them.

The small boxes next to 1 and 1 are the same color. And the small boxes next 2 and 2 are the same color. When you change the colors next to or surrounding them, it impacts your perception of the color.

This notion of perception—or what I like to call “color relativity”—is especially relevant for dark mode. Your punchy, vibrant brand colors or the reds you’re using to grab the user’s attention for errors may read really differently when they’re on a dark background.

A bright red or a punchy blue on a light background can feel muddy and against a dark background:

On the left against a light background are two buttons with white text: the first button is red, the second button is dark blue. On the right the same buttons appear where they have less contrast against a dark background, making them feel muddy by comparison.

Yes, checking our color contrast ratios can guide us. But there’s a little more going on here. The perceived saturation of a color is not constant. It varies depending on the surroundings and light a color is seen in.

When we’re in the dark, closer objects are brighter

Another way that our brains interpret and perceive information from our eyeballs has to do with light sources and shadow. In daylight, items that are more distant appear lighter in color.

Snow-capped mountains are nearby and also as a long range across the horizon in the distance. A nearby mountain's shadowed face has a small square over it that connects to a bluish-black color swatch. The shadowed face of a mountain in the distance has a small square that connects to a second color swatch, which is a light Prussian blue color.

Photo of mountains from Mario von Rotz on Unsplash.

But in the dark, items closer to a light source appear lighter in color. Given the way we rely on light in the darkness to help us see, items closer to us and our eyes (and a nearby light source) appear lighter in color.

A man in silhouette walks through a dark hallway cast in orange toward a bright white light. A small square outlines part of the wall in shadow, connected to a dark brown color swatch. Another square appears on part of the wall close to the bright white light and connects to a goldfish orange color swatch.

Photo of dark hallway from Qiu MenFeng on Unsplash.

This perception informs one of the key principles of designing for dark mode. In light mode we can rely on shadows alone to convey elevation. But in dark mode, items that are “closer” to us in the UI should get a lighter background to create that sense of elevation and proximity.

Even though the differences between a “closer” menu and a background behind it may be quite subtle, it feels quite natural to our eyes and our brain, and when done incorrectly can contribute to a dark mode implementation feeling “off.”

In the left column are 4 white squares on a light background. From top to bottom, shadow behind each square gets larger and more noticeable. In the second column are dark squares on a background the same dark color—all one color—with the same shadows behind them. Finally in the third column are 4 different color squares against a dark background, all lighter than the bakground. From top to bottom, the square color gets brighter and the shadow is wider and more intense.

Image from Dark Mode UI: 7 Best Practices

For example, this drop down menu on Linear’s website pops over the top of the page behind it. To give that sense of “closeness” to a light source near our eyes, it uses a lighter gray background than the page behind it:

Linear's homepage with a "Resources" flyover menu open. A swatch connecting to the main homepage background is very dark black in appearance. A swatch connecting to the background color of the flyover menu on top of the homepage is a slightly lighter dark gray color.

Common misconceptions

If you haven’t spent much time thinking about or dissecting why dark mode looks the way it does, it might seem pretty straightforward. What’s the big deal?

Let’s talk about some of the common misconceptions.

“Just invert the colors”

Isn’t dark mode just inverting all the color? Not exactly. That would mean any UI elements with shadow would have a soft glow around them.

True color inversion might be fine for white or black elements like backgrounds and text. But it will also change things like brand colors, which are commonly used for attention-grabbing UI elements like buttons. And we know better than to muck around with brand colors, don’t we?

On the left is a section stripe.com's in its default colors: a white background, a purple CTA button, and a green CTA button on a mobile phone screen. On the right, the same image has colors inverted with a dark background and light text. Arrows draw attention to the purple CTA button which is now green and the green button on the mobile phone which is now pink. Instead of a shadow around the phone, there is a soft light-colored glow.

“So
just invert the color ramps then?”

So if we don’t do a true inversion, couldn’t we just invert the color ramps and flip where the dark colors and light colors get used? So dark greens flip to light greens, light greens flip to dark greens, and all the colors for dark mode are
well
darker?

Not exactly. That gets us that super-saturated “muddy” feeling in dark mode, like with this dark red alert, which doesn’t have much contrast against a dark background:

On the left are two banners: a success alert and an error alert against a light background. Color swatches under them show the colors used in each: dark green text and light green background for the success alert; dark red text and light red background for the error alert. On the right are the same alerts against a dark background, with light and dark colors reversed. Swatches beneath them show: light green text (was was the background color on the left) and dark green background (what was the text color on the left); a dark red background (what was used for text on the left) and light red text (what was used for the background on the left) for the error alert.

Depending on the specific hue of the color ramp, inverting the light colors to dark ones from the same color ramp may mean that something unimportant (like our green success alert) steals a lot of visual attention from primary content or a call-to-action button.

“Can’t we just throw Tailwind’s ‘.dark’ class on it and call it a day?”

Haven’t tools like Tailwind solved this problem for us? Well
yes and no.

As Tailwind’s dark mode docs indicate, you can add Tailwind’s “.dark” class to the body of a page. But that assumes that you’ve specified the right color for every element you want recolored for dark mode. Or that you’re using pre-styled Tailwind components without customization or any additional brand colors.

Tips & tricks for dark mode

So what parts of a color’s formula do you manipulate for a successful design in dark mode? What tips and tricks can you follow to do dark mode the “right” way?

1. Avoid using saturated colors.

It can be hard to pass accessibility requirements with saturated colors on dark backgrounds.

Highly saturated colors will feel too intense in dark mode. Because of the way we perceive color, a desaturated color will feel more intense when it’s on a dark background. Lower saturation will still “feel” colorful in dark mode.

On the top row are 4 color swatches and their saturation values against a light background: yellow (S: 96), red (S: 86), purple (S: 74), and green (S: 94). On a second row are 4 more swatches that are desaturated versions against a dark background of the colors above: yellow (S: 35), red (S: 41), purple (S: 24), green (S: 34).

Reserve the intense, saturated colors for expressing brand or for call-to-action situations where you really do need to grab attention.

High saturation background colors appear for an error and warning alert that are bright tomato red and mustard yellow. Next to them is a big red X and text indicating that they are too intense on a dark background and that they steal attention. Under a dividing line are the same alerts but with low saturation red and yellow backgrounds and a big green check with text indicating these versions are easier on the eyes, reserving intense color for expression brand or call-to-action buttons that need to grab attention.

2. Don’t just invert your light mode colors.

Don’t just invert your light mode color scheme. It won’t necessarily have enough contrast to meet accessibility standards.

Be patient and create a dark-mode-specific color palette that has enough contrast and is pleasant to the eye.

On the left is the UI for a phone app in light mode with a bottom sheet dialog with a red warning icon and a red button the user can tap to confirm account deletion. On the right is the same UI in dark mode with a red X over it and teh text "Don't just invert your light mode colors"—the red warning icon and the red button appear dark and muddy against the dark backgrounds of dark mode.

On the left is a dark mode phone UI with a muddy red warning icon and delete button that has low contrast against the dark mode background. On the right is an improved version of the same screen, where the warning icon and red delete button are brighter and less saturated, which makes them stand out more from the background. Next to the right image is the text "Check your contrast ratios. Just inverting your colors may mean buttons, icons, or text don't meet contrast requirements. Dark-mode specific color theming."

Just inverting light and dark steps your color palettes will likely result in icons or buttons not meeting contrast requirements against dark backgrounds.

3. Avoid using pure white or pure black.

White text on a pure black background can be challenging or painful to look at with certain vestibular or vision impairments.

4. Communicate elevation with lighter surfaces.

In light mode, we use shadows to communicate depth. The higher the surface is, the closer it is to the “light source” and the bigger shadow it casts.

This doesn’t work the same way in dark mode. But we can use the same “light source” theory and apply it to surface color.

For elements in the UI that are “in front” like fly-out menus or dialogs, use soft grays rather than dark blacks and bright whites. Shadows will still show on grays. It will still feel dark, but much softer and nicer to look at.

If you’re using grays and not blacks, shadows still help create depth in addition to the gray scale giving that sense of elevation:

A phone interface shows a dialog bottom sheet that has several disclosure rows on it. On the right, swatches for the background (lowest elevation / darkest), dialog surface (mid elevation / lighter), and disclosure row (highest elevation / lightest) are called out.

5. Use a robust gray palette that carries some of your brand color

Consider creating harmony with other UI elements by creating a gray palette that isn’t totally neutral, but carries a very desaturated version of a brand color. It will feel more sophisticated and easier on the eyes.

On the left is a red X and the text "Don't use a totally neutral gray palette" next to an 11-swatch color ramp of neautral grays. To the right of the ramp is a plus sign and a purple color ramp, followed by an equal sign. To the right of the equal sign is a purple-gray color ramp and a green check mark with the text "Use a gray palette that carries some of the hue from a brand color."

Try combining a primary brand color at low opacity with neutral grays to create a gray palette that carries a branded hue.

Conclusion

Designing for dark mode can be surprisingly complex. It requires an understanding of how our eyes perceive color and how to mimic colors in the real world by manipulating the saturation and brightness of colors.

By using HSB, we can:

  • create a gray palette that carries some brand color for added harmony
  • apply lighter grays to “closer” surfaces to convey elevation
  • avoiding saturated colors except in instances where we want to draw attention

I hope you’ve learned a little something about working with color. Need help with dark mode designs or working with color on your project? Get in touch!

Resources

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Published on November 7, 2025

By
Glynnis Ritchie Glynnis Ritchie