A blue-green named for the bird's eye-patch marking.
Similar to
Colours in photographs vary with lighting, material, camera processing and screen calibration — the named colours below are visual approximations, not exact measurements.

The radiating fibrous structure visible here is the iris's real anatomy — the yellow-green flecking near the pupil and the blue-teal further out are two genuinely different regions, not a single uniform colour.
Extreme close-up eye photography like this is very often colour-enhanced or saturation-boosted in editing — treat this as an illustrative, vivid example of blue-green iris structure, not an unedited, exact colour reference. A camera can never capture eye colour perfectly neutrally in any case, since white balance and exposure both shift what's recorded."Eye I" by Thomas Tolkien, CC BY 2.0, via Wikimedia CommonsThe same simultaneous-contrast effect that makes a grey square look different against different-coloured backgrounds also applies to eye colour: a nearby clothing colour can make eyes look more or less vivid, or shift their apparent warmth, without the eyes themselves changing at all.
In practice: If eye colour looks unusually vivid or muted in a particular outfit, the clothing colour beside the face is a common, ordinary explanation — not a change in the eyes themselves.
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.
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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.
Name origin
Inherited from the cyan 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 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 →
CSS/web-standard named colour value.
vs. white text
4.77:1 — AA
vs. black text
4.40:1 — fails
Confidence: medium · Qualification: identity_only, technically_qualified, curated_profile_eligible, search_index_eligible, comparison_eligible
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