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Gladiatorial Phase Crimson

#b12c28
Notes

Gladiatorial Phase Crimson (#B12C28) is a true red with a warm character. It leans warm, pulling light toward red, orange, and yellow. Naturally inviting, it suits editorial and hospitality contexts. Its HSL profile (2°, 63%, 43%) 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 cyan. For something softer, pull in its analogous neighbors on either side of the wheel.

HEX
#b12c28
RGB
rgb(177, 44, 40)
HSL
hsl(2, 63%, 43%)
HWB
hwb(2 16% 31%)
OKLCH
oklch(50.4% 0.170 27.1)
P3
color(display-p3 0.6391 0.2179 0.1851)
HSV
hsv(2, 77%, 69%)
LAB
lab(40.09% 52.72 35.20)
LCH
lch(40.09% 63.39 33.73)
CMYK
cmyk(0%, 75%, 77%, 31%)

Etymology

Gladiatorial
adjective

Latin gladiātōrius, of the gladiator — adjectival suffix, derived from gladius (short-sword). As a color modifier, gladiatorial implies a saturated-and-combative-and-bloody quality, the deep-rich color of Roman-Colosseum gladiator-arena bloody-tunic-and-shield combat-attire. Sits at the bold-and-formal end of the grid, parallel to spartan and valiant.

Phase
modifier

Greek phásis, appearance / phase-of-the-moon. As a color modifier, phase implies a moon-phase-and-cycle-stage quality, the visual register of lunar-and-tidal-cycle moon-phase-and-tidal-rhythm waxing-and-waning lunar-cycle surfaces under waxing-and-waning lunar-cycle light. Sits at the modifier-and-time end of the grid, parallel to cycle and wane in usage.

Crimson
noun

From the Old Spanish cremesin, itself from the Arabic qirmiz — the kermes scale insect, dried and ground into a brilliant carmine dye prized in the medieval Mediterranean. For centuries the most expensive red on a draper's shelf, reserved for cardinals, kings, and the cloth that gave English the word crimson. Cooler than scarlet, deeper than rose; the color of pomegranate seeds and a serious occasion.

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 explore

Harmonies

Accessibility

Color-vision simulation

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.

#b12c28
Original
#544c26
Protanopia
#756923
Deuteranopia
#c3002d
Tritanopia
#484848
Achromatopsia
WCAG contrast

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.

The quick brown foxSample body text at normal size. The wcag minimum for body contrast is 4.5:1 (AA) or 7:1 (AAA).
AAon White
6.44:1
The quick brown foxSample body text at normal size. The wcag minimum for body contrast is 4.5:1 (AA) or 7:1 (AAA).
AA Largeon Black
3.26:1

Wide gamut

Display P3 representation

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.

sRGB hex
sRGB hex
##B12C28
Display P3
Display P3
color(display-p3 0.6391 0.2179 0.1851)
P3 has subtle headroomOKLCH chroma 0.170

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.

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