#E18289Pulp (#E18289) is a light, soft red with an OKLCH hue of 16°, lightness 0.71 and chroma 0.117. It sits on the warm side of the color wheel. In practice it behaves as a mid-weight working color for secondary surfaces and editorial blocks.
| HEX | #E18289 |
|---|---|
| RGB | rgb(225, 130, 137) |
| HSL | hsl(356, 61%, 70%) |
| HSV | hsv(356, 42%, 88%) |
| CMYK | cmyk(0%, 42%, 39%, 12%) |
| CIE Lab | lab(64.8 37.2 12.3) |
| OKLCH | oklch(0.711 0.117 16) |
Under warm 2700K interior light Pulp shifts subtly: leans toward orange; in north-facing or shaded light it shifts subtly: drifts toward pink. Overall drift across common illuminants is small (max ΔE ≈ 1.4), so it is a lighting-stable choice.
#e47e7f — ΔE 1.4, shifts subtly: leans toward orange#e68286 — ΔE 0.9, shifts subtly: leans toward orange#e18289 — ΔE 0.0, is virtually unchanged#e1838b — ΔE 0.3, shifts subtly: drifts toward pinkTest Pulp 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 2.71:1 and against black 7.76:1, 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.
#ffeded · #ffb1b5 · #e18289 · #b46067 · #883f46 · #5f1f27
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.
#f9b694 · #ef9b8b · #e18289 · #c5728d · #a7648c · #885887
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.
#dbbb99 · #e18289 · #b7696f · #905800 · #753239 · #462904
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.
#ffdfe0 · #dabcbd · #e18289 · #009394 · #7f5355 · #563a3b
The anchor as the only color in the room. True neutrals or complement-warmed near-neutrals let it stay dominant.
#e6f5f5 · #e18289 · #948182 · #495353 · #2d1b1c · #000101
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.
#e6f5f5 · #bccdcd · #8ca0a0 · #0b2727 · #000505 · #e18289
The opposite hue on the perceptual wheel, tempered to field strength — warm/cool tension without vibration.
#dcd7b1 · #e18289 · #a37d96 · #217c9a · #293655 · #030b26
The complement's two neighbours instead of the complement itself — strong contrast with a lower clash risk.
#d8faf9 · #e18289 · #479879 · #005a74 · #00291b · #00050b
Three hues spaced evenly around the wheel; the anchor leads and the other two are held at supporting strength.
#e8f8e0 · #e18289 · #6d9359 · #1e508f · #001f49 · #000200
Two complementary pairs offset by 90° — the richest chord, kept usable by a strict lightness hierarchy.
#f5f4d9 · #e18289 · #8e8a42 · #005d5e · #1f144d · #000202
#E99499 · #F1A6AA · #F8B7BA · #FEC9CB · #FFDDDE
#BC686E · #994E55 · #77363C · #561F25 · #370810
#D58A8E · #C89194 · #BB9799
Its moderate chroma lets it work in mid-size areas — upholstery, secondary UI surfaces, editorial blocks — without overwhelming neighbors. In palettes it pairs most predictably with its tonal ramp and analogous neighbors; reserve the complementary hue for small, deliberate contrast.