#2D135FVoldemort (#2D135F) is a very dark, soft purple with an OKLCH hue of 292°, lightness 0.28 and chroma 0.125. It sits on the cool side of the color wheel. In practice it behaves as a grounding tone — suited to text, outlines, and shadowed surfaces.
| HEX | #2D135F |
|---|---|
| RGB | rgb(45, 19, 95) |
| HSL | hsl(261, 67%, 22%) |
| HSV | hsv(261, 80%, 37%) |
| CMYK | cmyk(53%, 80%, 0%, 63%) |
| CIE Lab | lab(14.7 32.2 -40.3) |
| OKLCH | oklch(0.279 0.125 292) |
Under warm 2700K interior light Voldemort shifts subtly: leans toward magenta; in north-facing or shaded light it is virtually unchanged. Overall drift across common illuminants is small (max ΔE ≈ 1.2), so it is a lighting-stable choice.
#2f1459 — ΔE 1.2, shifts subtly: leans toward magenta#2f145d — ΔE 0.6, shifts subtly: leans toward magenta#2d135f — ΔE 0.0, is virtually unchanged#2d1360 — ΔE 0.2, is virtually unchangedTest Voldemort 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 15.33:1 and against black 1.37:1, so white text is the stronger pairing. That pairing passes WCAG AA for body text. Avoid black 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.
#9d94ca · #796daa · #56488a · #2d135f · #1b0044 · #030011
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.
#26467b · #2a2e6f · #2d135f · #2b0044 · #220026 · #15000e
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.
#d7a6c2 · #998dd1 · #ac598c · #5f5194 · #59344a · #2d135f
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.
#c6cc68 · #837f9b · #635d84 · #454157 · #2d135f · #11062a
The anchor as the only color in the room. True neutrals or complement-warmed near-neutrals let it stay dominant.
#f2f3e6 · #b2afc1 · #76776e · #3f3d4e · #2d135f · #14140a
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.
#f2f3e7 · #c9cabc · #9c9d8e · #232410 · #040400 · #2d135f
The opposite hue on the perceptual wheel, tempered to field strength — warm/cool tension without vibration.
#f7efc9 · #93f540 · #885ea1 · #2e3e32 · #2d135f · #010d2d
The complement's two neighbours instead of the complement itself — strong contrast with a lower clash risk.
#dfd7b1 · #9fcf79 · #806e55 · #303b33 · #2d135f · #000a36
Three hues spaced evenly around the wheel; the anchor leads and the other two are held at supporting strength.
#ffeee4 · #e5a076 · #008b6e · #004b3b · #2d135f · #250a00
Two complementary pairs offset by 90° — the richest chord, kept usable by a strict lightness hierarchy.
#ffedec · #eb9896 · #797d02 · #00494e · #2d135f · #141500
#48387B · #675B97 · #887FB4 · #ABA4D1 · #CFCAEE
#270F54 · #200A49 · #1A073E · #150434 · #0F0229
#2B1B54 · #2A2148 · #29243D
As a deep tone it works for grounding elements — text, outlines, and shadowed surfaces — rather than open fields. In palettes it pairs most predictably with its tonal ramp and analogous neighbors; reserve the complementary hue for small, deliberate contrast.