Mired Aniline
Mired Aniline (#382E92) is a true blue 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 (246°, 52%, 38%) 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 yellow. For something softer, pull in its analogous neighbors on either side of the wheel.
Etymology
Old Norse mýrr, mire / bog — past-participle of mire. As a color modifier, mired implies the deep-and-stuck-and-warm-brown quality of bog-and-peat-and-marsh-mud-immersion, like a Yorkshire-Moors hiker's boots after a rainy day on the saturated peat. Sits at the deep-and-warm end of the grid, parallel to peat-stained with earthy register.
Synthetic-organic dye class first synthesized in 1856 by William Henry Perkin from coal-tar derivatives — named after the Portuguese anil (indigo) since Perkin's first mauveine was a synthetic stand-in for natural indigo's overdyed violets. Aniline color refers to a freshly aniline-mauveine-dyed Victorian silk: a saturated, slightly cool deep blue-violet with the silky luster of the first-ever industrial synthetic dye on Lyon silk.
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.