You ought to choose a palette that is as small as possible while remaining versatile. Each entry should serve a distinct purpose, and should look different (and look good) next to various other entries.
For example: a mid-saturation, mid-lightness violet, say around #793D58, can be used as (1) a dark background for light elements, (2) a text or link colour on a light background, or (3) a shadow for bluish or reddish elements. Knowing how colours are perceived, and how to use them well, drastically reduces the size of a palette—the vast majority of pixel art uses fewer than 20 colours, and fewer than 10 is common.
In particular, there is usually no need to create ad-hoc colours for different contexts, such as with LESS colour transformations. These can be useful tools, but they can also create inconsistency because they take control out of your hands. And when it comes to design, I for one prefer not to leave things to chance.
You ought to choose a palette that is as small as possible while remaining versatile. Each entry should serve a distinct purpose, and should look different (and look good) next to various other entries.
For example: a mid-saturation, mid-lightness violet, say around #793D58, can be used as (1) a dark background for light elements, (2) a text or link colour on a light background, or (3) a shadow for bluish or reddish elements. Knowing how colours are perceived, and how to use them well, drastically reduces the size of a palette—the vast majority of pixel art uses fewer than 20 colours, and fewer than 10 is common.
In particular, there is usually no need to create ad-hoc colours for different contexts, such as with LESS colour transformations. These can be useful tools, but they can also create inconsistency because they take control out of your hands. And when it comes to design, I for one prefer not to leave things to chance.