440 named colors.

Reds Red spans from cool crimsons and cherry tones through warm scarlets into brick and maroon. It carries the strongest cultural signal of any hue - urgency, appetite, warning - which is why the reds in this library range from saturated alert colors to muted wines that read as luxurious rather than loud.

Oranges Orange sits between red's intensity and yellow's brightness: terracotta, rust, apricot, and pumpkin all live here. Because pure orange is rare in nature outside fruit and fire, even mild oranges feel energetic - the earthier entries like ochre and sienna are the ones designers reach for in interfaces.

Yellows Yellow is the lightest hue at full saturation, which makes it tricky: pure yellows disappear on white and vibrate on black. This family runs from pale creams and champagnes through golds and mustards - the darker, browner end is where yellow becomes usable for text and UI.

Greens Green covers the widest slice of the visible spectrum, and this library reflects that breadth: yellow-greens like chartreuse and pistachio, true greens like emerald, and deep foliage tones like hunter and pine. Greens read as natural and stable, which is why success states default to them.

Cyans Cyan is the water family - teal, turquoise, aqua, and the blue-greens in between. These colors sit at the boundary where cultures disagree about whether a color is blue or green, and they consistently test as calm and clean, making them common in health and finance palettes.

Blues Blue is the world's most-cited favorite color and the default of corporate design. The family here runs from airy sky and powder blues through cobalt and royal to navies dark enough to substitute for black. Blues hold saturation well at low lightness, which is why dark-blue text works where dark-red doesn't.

Purples Purple bridges blue's calm and red's energy: violets, lavenders, orchids, and plums. Historically expensive to dye, it kept an association with luxury and eccentricity. Light lavenders behave like neutrals in pastel palettes, while saturated violets are among the hardest colors to reproduce in print.

Neutrals Neutrals are the colors with almost no chroma - blacks, grays, whites, and the warm off-whites like ivory and linen. They do most of the actual work in any interface or document, and the difference between a warm and a cool gray, invisible in isolation, is obvious the moment they sit next to each other.