Calm Vermont
Calm Vermont (#F9ECA1) is a soft amber with a pastel character. It reads calm and airy, with enough chroma to feel intentional rather than washed out. Its HSL profile (51°, 88%, 80%) 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 blue. For something softer, pull in its analogous neighbors on either side of the wheel.
Etymology
Latin calma, heat of the day — paradoxically drifted in Italian to mean stillness. Used as a color modifier since the seventeenth century for hues that read as untroubled. Calm blue, calm gray: moderate saturation combined with optical quiet. Sits at the crisp-bucket near quiet and steady.
The American Northeast state — and the warm gold-yellow of Vermont sugar-maple foliage at peak fall color and Vermont Grade-A medium-amber maple syrup. Vermont refers to a Vermont Acer saccharum canopy in mid-October: a saturated, slightly red yellow-orange with the optical complexity of carotenoid-rich autumn leaves.
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.