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Conquering Zen Crimson

#b5301f
Notes

Conquering Zen Crimson (#B5301F) is a true red with a vibrant character. It holds its own as a focal accent, carrying visual weight without tipping into neon territory. Its HSL profile (7°, 71%, 42%) 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
#b5301f
RGB
rgb(181, 48, 31)
HSL
hsl(7, 71%, 42%)
HWB
hwb(7 12% 29%)
OKLCH
oklch(51.4% 0.172 30.8)
P3
color(display-p3 0.6540 0.2319 0.1621)
HSV
hsv(7, 83%, 71%)
LAB
lab(41.28% 52.29 41.55)
LCH
lch(41.28% 66.79 38.47)
CMYK
cmyk(0%, 73%, 83%, 29%)

Etymology

Conquering
adjective

Latin conquīrere, to seek thoroughly — present-participle of conquer. As a color modifier, conquering implies a saturated-and-overwhelming-and-victorious quality where the hue overcomes neighboring colors through pure pigmentation strength. Sits at the bold-and-celebratory end of the grid, parallel to triumphant and dominant.

Zen
modifier

Japanese 禅, Zen Buddhism. As a color modifier, zen implies a stripped-down-and-meditative-Mahayana quality, the visual register of Japanese-Sōtō-and-Rinzai-Zen Zen-Buddhist hand-laid rock-garden-and-tatami-and-shōji-screen meditation-hall surfaces under Sōtō-and-Rinzai-Zen Kyoto-temple-garden meditative quiet light. Sits at the modifier-and-cultural end of the grid, parallel to tao and sufi 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.

#b5301f
Original
#584f1b
Protanopia
#796c18
Deuteranopia
#c8002e
Tritanopia
#4b4b4b
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
6.16:1
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
3.41:1

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
##B5301F
Display P3
Display P3
color(display-p3 0.6540 0.2319 0.1621)
P3 has subtle headroomOKLCH chroma 0.172

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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