Light Como
Light Como (#B3C2E2) is a soft azure with a pastel character. It reads calm and airy, with enough chroma to feel intentional rather than washed out. Its HSL profile (221°, 45%, 79%) places it in the balanced band at a light lightness. It works as a background wash, large-area fill, or soft illustration tone. Add a darker ink of the same hue when you need type over it. 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 līht, not heavy — and an entirely separate Old English lēoht, brightness, that fused into the modern English word with both meanings overlapping. Used as a color modifier since the medieval period for hues with high lightness on the value axis, regardless of saturation. Light blue, light pink: high lightness with moderate-to-low saturation. Sits at the pale-bucket center alongside pale and soft.
Lake Como — Lago di Como — in Lombardy, Italy. The deepest lake in Italy at 410 meters. Como color refers to mid-depth Lake Como water seen from Bellagio: a saturated, slightly cool deep blue with the optical depth of Alpine glacier-melt 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.
This color sits well within the sRGB cube. P3 and sRGB share the gray axis and most desaturated tones, so a P3 display renders this identically to an sRGB display.