Glassine Reykjavík
Glassine Reykjavík (#CCE8F8) 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 (202°, 76%, 89%) places it in the highly saturated band at a light lightness. Best used in small doses, like logos, CTAs, focus rings, or highlight text, where its saturation becomes a feature rather than noise. For a confident two-color system, pair it with its complementary orange. For something softer, pull in its analogous neighbors on either side of the wheel.
Etymology
French glaceé, glazed — adjectival suffix -ine. As a color modifier, glassine implies a pale-and-translucent-and-paper-thin quality, the pale color of philatelic-and-archival-paper glassine-paper translucent-and-archival paper-finish surface. Sits at the pale-and-thin end of the grid, parallel to onionskin and parchment in usage.
The Icelandic capital — and the deep blue of Faxaflói Bay and the Bláa Lónið (Blue Lagoon) geothermal waters. Reykjavík color refers to the Blue Lagoon at midwinter: a soft, slightly cool deep blue-green with the optical complexity of silica-rich geothermal 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.