A deep, dark blue — the first modern synthetic pigment, discovered in the early 18th century.
Colours in photographs vary with lighting, material, camera processing and screen calibration — the named colours below are visual approximations, not exact measurements.

Prussian blue, first produced in Berlin around 1706, is widely credited as the first modern synthetic pigment.
The glass dish and pale backdrop occupy more of the frame than the pigment itself, so an automated whole-frame scan would be dominated by grey and white rather than the blue pigment — the palette above was hand-picked from the pigment mound."Pigment Berliner Blau" by Saalebaer, CC0, via Wikimedia CommonsBefore Prussian blue's accidental discovery around 1706, a strong, stable blue meant paying for natural ultramarine's enormous cost — Prussian blue was significantly cheaper to produce and is widely credited as the first modern synthetic pigment, genuinely changing what a working painter (not just a wealthy patron) could afford to use.
In practice: Prussian blue's affordability is a real, documented milestone in the much longer story of colour becoming cheaper and more widely available — a trend that continued through the 19th-century synthetic-dye boom.
Prussian Blue appears in the following curated historical/cultural palettes.
Arts and Crafts movement palette
Textiles, wallpaper and interior design
Late 19th century · Britain
These HEX values are a modern digital approximation for comparison — they cannot exactly reproduce a historical physical pigment, dye or dyed cloth, whose appearance also varied by batch, ageing and the light it was viewed in.
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.
No curated profile yet
Split-complementary
The two hues bracketing the complement, for contrast with less tension.
No curated profile yet
Split-complementary
The two hues bracketing the complement, for contrast with less tension.
No curated profile yet
Tetradic
Four hues at 90° steps around the colour wheel for a rich, varied palette.
No curated profile yet
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.
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.
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.
History
Inherited from the blue 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
No curated profile yet
Warmer & Greener & Yellower
Hue rotated toward warm (red/orange) From this starting colour, moving warmer and greener and yellower converges on the same calculated result.
Cooler
Hue rotated toward cool (blue)
Bluer & Redder
Hue rotated toward blue From this starting colour, moving bluer and redder converges on the same calculated result.
More muted
Saturation softened This is close to the source colour itself — there is limited room left to move more muted from here.
More saturated
Saturation increased This is close to the source colour itself — there is limited room left to move more saturated from here.
CMYK is an approximate device conversion, not a calibrated print value — see methodology.
Convert this colour to another format →
Common pigment-history reference value for the named colour.
vs. white text
13.43:1 — AAA
vs. black text
1.56:1 — fails
Confidence: medium · Qualification: identity_only, technically_qualified, curated_profile_eligible, search_index_eligible, comparison_eligible
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