Obsidian Klein
Obsidian Klein (#2C379C) is a true blue 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 (234°, 56%, 39%) places it in the balanced band at a mid lightness. It works across type, buttons, and borders, saturated enough to feel deliberate but balanced enough to not fight the rest of the palette. 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
Volcanic glass — molten rhyolite cooled too quickly to crystallize. Mined since the Stone Age for blade-edges (sharper than surgical steel) and ground into mirrors by the Aztec priesthood for divination. The color refers to a polished obsidian flake from Mount Hekla or Glass Buttes, Oregon: a deep, slightly blue-shifted black with the high-gloss conchoidal fracture of natural glass. Cooler than onyx, glossier than coal.
Yves Klein, the French artist (1928–1962) who patented International Klein Blue (IKB) in 1960 — a synthetic ultramarine suspended in a binder that preserved the matte saturation of the raw pigment. The color refers to a Klein monochrome painting: a deeply saturated, slightly violet-shifted blue with the velvet-matte finish of un-glossed pigment. Deeper than ultramarine, cooler than royal, with the art-world specificity of a color owned, briefly, by one artist.
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.