Deathly Yangtze
Deathly Yangtze (#2D4673) is a deep azure with an earthy character. It leans grounded and natural, the kind of color that plays well with wood, clay, linen, and warm neutrals. Its HSL profile (219°, 44%, 31%) 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
Old English dēath, death — adjectival suffix -ly. As a color modifier, deathly implies a deep-cool-and-pallid quality, the cold-shifted darkness associated with mortality and absence of vital warmth. Sits at the deep-and-cool end of the grid, parallel to funereal but with pallor undertone.
The Chinese Cháng Jiāng — the longest river in Asia and the third-longest in the world. Yangtze color refers to mid-depth Yangtze River water at the Three Gorges: a saturated, slightly cool deep blue with the optical complexity of glacier-fed Tibetan-Plateau-source river water.
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.