#D1F358Ultra Moss (#D1F358) is a very light, saturated yellow-green with an OKLCH hue of 121°, lightness 0.91 and chroma 0.181. It sits on the transitional side of the color wheel. In practice it behaves as a mid-weight working color for secondary surfaces and editorial blocks.
| HEX | #D1F358 |
|---|---|
| RGB | rgb(209, 243, 88) |
| HSL | hsl(73, 87%, 65%) |
| HSV | hsv(73, 64%, 95%) |
| CMYK | cmyk(14%, 0%, 64%, 5%) |
| CIE Lab | lab(90.9 -31.8 68.5) |
| OKLCH | oklch(0.911 0.181 121) |
Under warm 2700K interior light Ultra Moss shifts subtly: leans toward yellow; in north-facing or shaded light it is virtually unchanged. Overall drift across common illuminants is small (max ΔE ≈ 1.8), so it is a lighting-stable choice.
#dbed4c — ΔE 1.8, shifts subtly: leans toward yellow#d9f453 — ΔE 1.1, shifts subtly: leans toward yellow#d1f358 — ΔE 0.0, is virtually unchanged#d1f45a — ΔE 0.3, is virtually unchangedTest Ultra Moss 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 1.26:1 and against black 16.67:1, 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.
#d1f358 · #bad944 · #94b020 · #718800 · #516200 · #323e00
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.
#d1f358 · #e0d324 · #e5b400 · #e39500 · #d97a24 · #c8623b
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.
#d1f358 · #80d5bb · #95af2c · #009a7c · #5d7000 · #005846
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.
#d1f358 · #b9c49d · #93a55d · #8651ca · #374400 · #1e2600
The anchor as the only color in the room. True neutrals or complement-warmed near-neutrals let it stay dominant.
#d1f358 · #c7c1d3 · #868d75 · #54505c · #1f250b · #010004
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.
#f3f0fb · #cbc6d4 · #9e99a8 · #251f30 · #05010d · #d1f358
The opposite hue on the perceptual wheel, tempered to field strength — warm/cool tension without vibration.
#d1f358 · #add5c2 · #f233d5 · #4e6e4a · #323155 · #1f0509
The complement's two neighbours instead of the complement itself — strong contrast with a lower clash risk.
#d1f358 · #e6becc · #8598c0 · #964d9a · #323855 · #130f04
Three hues spaced evenly around the wheel; the anchor leads and the other two are held at supporting strength.
#d1f358 · #a6cae5 · #0692d8 · #99004d · #45001f · #000510
Two complementary pairs offset by 90° — the richest chord, kept usable by a strict lightness hierarchy.
#d1f358 · #9ccfd8 · #009baf · #652da4 · #470000 · #03000d
#D6F573 · #DBF68A · #E0F89E · #E5F9B1 · #EAFAC4
#A9C736 · #839C07 · #5F7300 · #3E4C00 · #202800
#D4F07F · #D7ED9E · #DBE9B8
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.