#D8CFB6Berber (#D8CFB6) is a very light, muted yellow with an OKLCH hue of 91°, lightness 0.86 and chroma 0.035. It sits on the warm side of the color wheel. In practice it behaves as a background color — quiet over large surfaces.
| HEX | #D8CFB6 |
|---|---|
| RGB | rgb(216, 207, 182) |
| HSL | hsl(44, 30%, 78%) |
| HSV | hsv(44, 16%, 85%) |
| CMYK | cmyk(0%, 4%, 16%, 15%) |
| CIE Lab | lab(83.2 -1 13.5) |
| OKLCH | oklch(0.855 0.035 91) |
Under warm 2700K interior light Berber shifts subtly: drifts toward orange, gains intensity; in north-facing or shaded light it is virtually unchanged. Overall drift across common illuminants is small (max ΔE ≈ 1.9), so it is a lighting-stable choice.
#e0caa9 — ΔE 1.9, shifts subtly: drifts toward orange, gains intensity#dfd0b2 — ΔE 1.2, shifts subtly: leans toward orange#d8cfb6 — ΔE 0.0, is virtually unchanged#d8d0b9 — ΔE 0.4, is virtually unchangedTest Berber in the color lighting simulator — sweep it through daylight, warm 2700K light, 4000K LED, and shade alongside the rest of your palette.
Against white it measures 1.55:1 and against black 13.52:1, so black text is the stronger pairing. That pairing passes WCAG AA for body text. Avoid white text on this color entirely.
One color explored: close hues with real lightness and chroma structure, so the palette is the anchor through value rather than a set of colors.
#faf1da · #d8cfb6 · #aaa28c · #837c69 · #5f5948 · #3d3829
The anchor's neighbours on the wheel — everything shares an undertone, so the chord carries color without anything having to be muted to get along.
#e3e2b6 · #d8cfb6 · #d8b689 · #caa080 · #b98b78 · #a57772
The mid-gap pairing — sage and mustard, terracotta and olive. A foil rotated 40–65° toward warm or cool: too far to be kin, too near to argue, carried by temperature and a deliberate value offset.
#d8cfb6 · #a2b6a0 · #9f9063 · #597e56 · #63552e · #2f422e
One deliberately opposed voice — a single restrained counterpoint across the wheel, or temperature against temperature where the anchor is too muted to carry a loud opposite.
#d8cfb6 · #b2ac9d · #948a6e · #4a5784 · #362e18 · #191407
The anchor as the only color in the room. True neutrals or complement-warmed near-neutrals let it stay dominant.
#d8cfb6 · #b0b2ba · #807d73 · #494b50 · #221e15 · #010102
This color as a ground rather than a subject — its own restraint held across a narrow value band, carrying one saturated voice from the opposite temperature.
#f5f2e8 · #d8cfb6 · #a39f92 · #2e2919 · #0d0700 · #e6c04d
The opposite hue on the perceptual wheel, tempered to field strength — warm/cool tension without vibration.
#d8cfb6 · #adb2c2 · #6f7ba1 · #3c4874 · #131b3c · #0b0500
The complement's two neighbours instead of the complement itself — strong contrast with a lower clash risk.
#d8cfb6 · #adb2c2 · #5c829d · #52416d · #002136 · #020006
Three hues spaced evenly around the wheel; the anchor leads and the other two are held at supporting strength.
#d8cfb6 · #a3b7bb · #508791 · #623b5e · #2f112c · #000305
Two complementary pairs offset by 90° — the richest chord, kept usable by a strict lightness hierarchy.
#d8cfb6 · #a4b8b3 · #53897f · #3c4874 · #350f1d · #000007
#DDD5BF · #E2DCC8 · #E8E2D2 · #EDE8DB · #F2EFE4
#B1A992 · #8B8470 · #676150 · #454031 · #262216
#D6CFBB · #D4CFC1 · #D2CFC6
Its high lightness and low chroma make it a natural background or large-surface color. In palettes it pairs most predictably with its tonal ramp and analogous neighbors; reserve the complementary hue for small, deliberate contrast.