Plain Jacinth
Plain Jacinth (#C3AC59) is a true amber 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 (47°, 47%, 56%) 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 blue. For something softer, pull in its analogous neighbors on either side of the wheel.
Etymology
Latin planus, flat, level — used as a color modifier since the medieval period for hues that read as undecorated and direct. Plain white, plain blue: moderate saturation, no shift, no surface effect. Sits in the crisp-bucket center, with the implication of restraint rather than absence.
The yellow-orange variety of zircon — used in medieval European jewelry as a substitute for hessonite garnet. The name traces to the Greek hyakinthos, the same myth that gave the flower hyacinth its name. The color refers to a faceted Sri Lankan jacinth: a warm, slightly muted gold-orange with the gem's signature internal warmth.
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.