stage magenta, sweet pink, and a deep blue behind the lights
This palette came from the show rather than from a colour theory exercise, and it shows: magenta, orchid, candy pink and a flat navy that has no business working alongside them but does. The dials run up the magenta, deep plum to full stage colour, which is the progression a lighting desk makes when a song builds.
The navy is the counterweight and it does the controls. It is the colour behind the lights rather than in them - the part of the stage the audience never looks at - which makes it exactly right for buttons that should be findable rather than loud.
This is the most saturated palette in the set, so the restraint has to come from somewhere else: the ground is nearly black, the glass stays neutral, and none of the colour touches the type. What is left is a very bright clock in a very dark room, which is what a stage actually looks like from the back.
For counting down to something you are excited about and do not mind admitting it. For a screen that should have some energy in it. And for anyone who wants their dashboard to be the brightest thing on the desk.
An EverBox palette for countdowns, timers and shared spaces. Every dial sits in the same stage magenta, on a ground of purple-black. The controls take a deep royal blue — the cold half of the lighting rig.
Four dials rising through magenta: the year a dark imperial purple, the month a saturated orchid, the day a full electric magenta, and the hour a pale lilac like a follow-spot through haze. The ground is black with violet in it, panels a deep indigo above. The controls take a strong cobalt blue — the second gel, and the reason the magenta reads as hot.