A muted grey with a soft blue-green undertone, named for the metal alloy.
Similar to
Colours in photographs vary with lighting, material, camera processing and screen calibration — the named colours below are visual approximations, not exact measurements.

Linen's slightly irregular, hand-visible weave scatters light diffusely, which is why it reads as a relatively flat, 'honest' colour compared with a smoother, more reflective fabric.
Undyed linen carries the fibre's own natural colour, which varies by harvest and processing — treat this specific piece as one example, not a fixed 'linen colour'."Linen, Texture" by Gordana Adamovic-Mladenovic, CC BY 2.0, via Wikimedia Commons
Thin metal frames generally carry the least visual weight of any frame style, which is why the frame's own metal tone (cool pewter-grey here) tends to matter more for coordination than the frame shape itself.
This photo is composed over a page of printed text specifically to show the lens's gradient effect — the frame's own colour is a small part of the frame, reviewed separately from the text background."Progressive Trifocal Lens" by Stanistani, CC BY-SA 3.0, via Wikimedia CommonsAlmost no 'neutral' colour is perfectly neutral — most carry a faint warm or cool undertone that's invisible in isolation but becomes visible the moment two different neutrals are placed together, which is why a warm-toned beige and a cool-toned grey can look mismatched even though both are technically 'neutrals'.
In practice: When combining two neutral pieces, check their undertones against each other directly rather than assuming any two neutrals will automatically coordinate.
Subtle, bold, analogous, complementary and neutral options — established design convention, not a guarantee of visual success in every context.
Complementary
Opposite hues (180° apart) for maximum hue contrast.
Analogous
Neighbouring hues on the colour wheel for a low-contrast, harmonious feel.
Analogous
Neighbouring hues on the colour wheel for a low-contrast, harmonious feel.
Triadic
Three hues evenly spaced around the colour wheel for balanced contrast.
Triadic
Three hues evenly spaced around the colour wheel for balanced contrast.
Split-complementary
The two hues bracketing the complement, for contrast with less tension.
Split-complementary
The two hues bracketing the complement, for contrast with less tension.
Tetradic
Four hues at 90° steps around the colour wheel for a rich, varied palette.
Tetradic
Four hues at 90° steps around the colour wheel for a rich, varied palette.
Tetradic
Four hues at 90° steps around the colour wheel for a rich, varied palette.
Monochromatic
Same hue at different lightness levels, for a cohesive tonal palette.
Monochromatic
Same hue at different lightness levels, for a cohesive tonal palette.
No curated profile yet
Monochromatic
Same hue at different lightness levels, for a cohesive tonal palette.
Monochromatic
Same hue at different lightness levels, for a cohesive tonal palette.
For an accessible, low-contrast-risk pairing, monochromatic (same-hue) combinations are usually the safest starting point — see the harmonies above.
Name origin
Inherited from the neutral hue family, not specifically documented about this exact shade — see methodology.
Calculated directional adjustments. Some directions converge on the same result from this starting colour — shown as one merged card with an explanation, not repeated duplicates. Generated shades link to a curated profile only when one is close enough.
Lighter
Lightness increased
Darker
Lightness decreased
Warmer & Greener & Redder & Yellower
Hue rotated toward warm (red/orange) From this starting colour, moving warmer and greener and redder and yellower converges on the same calculated result.
Cooler & Bluer
Hue rotated toward cool (blue) From this starting colour, moving cooler and bluer converges on the same calculated result.
More muted
Saturation softened
More saturated
Saturation increased
CMYK is an approximate device conversion, not a calibrated print value — see methodology.
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Common design-industry reference value for the named colour.
vs. white text
2.50:1 — fails
vs. black text
8.41:1 — AAA
Confidence: medium · Qualification: identity_only, technically_qualified, curated_profile_eligible, search_index_eligible, comparison_eligible
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