Burnt Onando
Burnt Onando (#203D76) is a deep azure with a cool character. It leans cool, sitting on the blue, green, and violet side of the wheel. Quiet and dependable, a fit for product UI and data visualization. Its HSL profile (220°, 57%, 29%) places it in the balanced band at a dark lightness. It works well as a headline, icon, or deep background in an otherwise light layout, pairing cleanly with cream, bone, and warm neutrals. For a confident two-color system, pair it with its complementary amber. For something softer, pull in its analogous neighbors on either side of the wheel.
Etymology
The past participle of burn used as a color modifier — most familiar in burnt sienna and burnt umber, the pigments produced by firing raw earth pigments to deepen and warm them. Implies a color that has been reduced and concentrated by heat, with the slight red-orange shift that high-temperature oxidation introduces. Sits in the dark-and-warm corner of the engine's grid.
Japanese onando-iro (御納戸色) — honored storehouse color, the saturated grayed-blue of pre-modern Japanese clothing storehouse interiors. Traditional Edo-period onando was used in samurai household interiors and the linings of formal court dress. The color refers to a onando-painted Edo storehouse wall: a saturated, slightly cool deep blue-gray with the matte finish of weathered distemper paint.
Closest matches
The nearest named color in three reference sources, ranked by perceptual distance (ΔE76 in CIELAB). ΔE < 1 is imperceptible to most viewers; ΔE > 10 is clearly different. When two sources point to the same hex they’re merged into one tile; click any to open that color’s page.
Variations
Click any swatch to exploreHarmonies
Accessibility
How this color appears to viewers with the four major color-vision-deficiency types. Computed via the Machado (2009) physiologically-based model. If a tile matches the original, the color reads the same to that viewer.
The color used as foreground text against pure white and pure black, with the contrast ratio and WCAG 2.1 grade. Aim for AA (4.5:1) for body text and AA Large (3:1) for 18 pt+ headlines; AAA (7:1) is the gold standard for long-form reading surfaces.
Wide gamut
The CSS Color 4 wide-gamut form of this color. Both swatches render the same color on every display — the P3 form only diverges from sRGB when a designer pushes channels outside sRGB's reach.
Moderately saturated colors gain a small bump in P3 — the difference is usually visible side-by-side on wide-gamut hardware but won't change the character of the color.