Black on white is the safest QR code there is, and it is not the only one that works. Colour is fine, as long as you respect the one rule that decides whether a scanner can read it.
Try something like https://example.com/
This code is static and permanent. To change where it points after printing, .
Black on white is the safest QR code there is, and it is not the only one that works. Colour is fine, as long as you respect the one rule that decides whether a scanner can read it.
Set a custom pattern and background colour and watch the live preview, so the code fits your palette instead of defaulting to black.
The rule is a dark pattern on a light field, and the preview shows whether your two colours hold enough contrast to read in dim light.
Download PNG, SVG or PDF at final size with the colours exactly as designed, ready to proof on the real material.
Design and download a coloured code without an account and without a stamp across the corner of the artwork.
Build the code first so you can watch the preview change as you adjust it. Colour choices look different against a real pattern than they do in a palette, especially at the small sizes codes are usually printed at.
This is the rule everything else hangs off. Scanners expect dark modules on a light field, and although many handle an inverted code, enough do not that it is never worth the risk on print. Pick the darkest usable colour in your palette for the pattern.
Aim well past the minimum. A useful check: convert the two colours to greyscale in your head, if they look similar in grey, a camera in dim light will struggle. Mid-tone on mid-tone, pastel on white, and yellow on anything are the three combinations that fail most often.
Screens are backlit and paper is not, and inks shift on uncoated stock. Print at final size on the actual substrate and scan it in the light the piece will live in before signing off a run.

It mostly does not. The camera converts the image to greyscale and looks for the contrast boundary between light and dark modules, which is why two colours with similar luminance are unreadable no matter how different their hues look to you. Red and green may be opposites on a colour wheel and near-identical in grey. This is also why the safest bright-brand codes use a saturated dark colour, deep blue, forest green, burgundy, rather than a mid-tone version of the same hue.
A gentle gradient between two dark tones is usually safe. A gradient that passes through a light tone is not, because part of the pattern loses contrast with the background. Photographic backgrounds behind a code fail regularly for the same reason, the contrast varies across the symbol and the scanner loses the boundary somewhere in the middle. If a design demands a photo, put the code on a solid panel over it.
Brand designs frequently want a code on a black or deep-coloured page, which pushes people towards inverting the code to light-on-dark. Some scanners cope, some do not, and you will not find out which until it is in print. The reliable answer is a light panel, a rounded white or off-white rectangle behind the code, sized to include the quiet zone. It keeps polarity correct, guarantees the margin, and reads as a deliberate design element rather than a compromise.

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