RAL Design System plus — hue 300

Where 280 and 290 run on to L\* 93, 300 stops at L\* 90. The lightest shade is RAL Design 300 90 05, Translucent white, with a light reflectance value of 77.0 — against 82.4 in 280. That difference of over five points is no detail. It means that in this hue you will not find a shade that passes for white: the lightest there is stays visibly coloured.

For ceilings, large overhead surfaces and everything where you need light output, that is a real limitation. If you want to carry a violet line in a colour scheme through into the whites, you have to turn to the grey axis or to a neighbouring hue for that; within 300 it stops at a light, clearly lilac tint.

Violet and yellow-orange lie opposite one another in the colour circle. That has a direct practical consequence: a shade from 300 next to oak, beech, spruce or next to untreated plywood strengthens the warmth of the timber, and the timber in turn strengthens the colour of the violet. Both become more intense than they are on their own. That can give an interior exactly the tension it needs, but it is not an effect you want to get by accident.

All 49 colours in this group

RAL 300 20 05 — Night blackView RAL 300 20 05 →RAL 300 20 10 — Heron blueView RAL 300 20 10 →RAL 300 20 15 — Viola blackView RAL 300 20 15 →RAL 300 20 20 — Blackberry blackView RAL 300 20 20 →RAL 300 20 25 — Cardinal mauveView RAL 300 20 25 →RAL 300 20 30 — Ceremonial purpleView RAL 300 20 30 →RAL 300 30 05 — Night greyView RAL 300 30 05 →RAL 300 30 10 — Mourning violetView RAL 300 30 10 →RAL 300 30 15 — Club greyView RAL 300 30 15 →RAL 300 30 20 — Mulberry mauve blackView RAL 300 30 20 →RAL 300 30 25 — Evening mauveView RAL 300 30 25 →RAL 300 30 30 — Opera blueView RAL 300 30 30 →RAL 300 30 35 — Deep violetView RAL 300 30 35 →RAL 300 30 40 — Sage violetView RAL 300 30 40 →RAL 300 40 05 — Baroque greyView RAL 300 40 05 →RAL 300 40 10 — Gobelin mauveView RAL 300 40 10 →RAL 300 40 15 — Orchid greyView RAL 300 40 15 →RAL 300 40 20 — Old mauveView RAL 300 40 20 →RAL 300 40 25 — Parma mauveView RAL 300 40 25 →RAL 300 40 30 — Wool violetView RAL 300 40 30 →RAL 300 40 35 — Fine purpleView RAL 300 40 35 →RAL 300 40 40 — Clematis blueView RAL 300 40 40 →RAL 300 40 45 — Coronation blueView RAL 300 40 45 →RAL 300 50 05 — Hawk greyView RAL 300 50 05 →RAL 300 50 10 — Violet greyView RAL 300 50 10 →RAL 300 50 15 — Capercaillie mauveView RAL 300 50 15 →RAL 300 50 20 — Parisian violetView RAL 300 50 20 →RAL 300 50 25 — Tulip violetView RAL 300 50 25 →RAL 300 50 30 — Toy mauveView RAL 300 50 30 →RAL 300 50 35 — Wintertime mauveView RAL 300 50 35 →RAL 300 50 40 — Clear mauveView RAL 300 50 40 →RAL 300 60 05 — Partridge greyView RAL 300 60 05 →RAL 300 60 10 — Rose greyView RAL 300 60 10 →RAL 300 60 15 — Antique violaView RAL 300 60 15 →RAL 300 60 20 — Larkspur violetView RAL 300 60 20 →RAL 300 60 25 — Silk lilacView RAL 300 60 25 →RAL 300 60 30 — Heliotropic mauveView RAL 300 60 30 →RAL 300 60 35 — Amethyst greyView RAL 300 60 35 →RAL 300 70 05 — Velvet greyView RAL 300 70 05 →RAL 300 70 10 — Morning mist greyView RAL 300 70 10 →RAL 300 70 15 — Eyeshadow violaView RAL 300 70 15 →RAL 300 70 20 — Lavender violetView RAL 300 70 20 →RAL 300 70 25 — Pink lavenderView RAL 300 70 25 →RAL 300 80 05 — Hazy mauveView RAL 300 80 05 →RAL 300 80 10 — Pale violetView RAL 300 80 10 →RAL 300 80 15 — Ice mauveView RAL 300 80 15 →RAL 300 85 05 — Delicate violaView RAL 300 85 05 →RAL 300 85 10 — Powder viola whiteView RAL 300 85 10 →RAL 300 90 05 — Translucent whiteView RAL 300 90 05 →

More about hue 300

Next to concrete and galvanised steel the opposite happens. Those materials often have a slight blue-green direction of their own, so that a shade from 300 stands greyer and flatter beside them than expected. So anyone applying this hue in a bare-structure setting does better to choose a shade one step higher in saturation than looks attractive on the sample.

In perception, the light shades in this area lie close to the grey that arises when a yellowed binder comes to lie over a cool colour. Waterproof, lightly saturated violets can therefore give an impression of ageing sooner than an equally light blue or green. In interior work it is above all the yellowing of the binder itself that plays a part: it pulls the colour towards the red side and makes a lilac wall pinker over time.

That can be countered by not choosing the lowest saturation for large light surfaces, but one block higher. RAL Design 300 70 25 and 300 60 25 keep hold of their direction, where the shades at C\* 05 are more easily influenced by what happens around and over them.

49 shades, from L\* 20 to L\* 90 and from C\* 05 to C\* 45. The range is widest in the dark and middle area: RAL Design 300 20 25 Cardinal mauve and 300 20 05 Night black lie at the bottom of the scale with light reflectance values of 6.3 and 6.8, and above them lies the full field of mourning violet, baroque grey and clematis blue. In total the light reflectance values run from 6.3 to 77.0.

Technical data

Hue: 300 · Shades: 49 · Lightness: L\* 20–90 · Saturation: C\* 05–45 · Lab values: per shade on the colour page · LRV: 6.3 to 77.0 · Included in: RAL D4 A4 colour samples (colour standard), RAL D2 fan deck, RAL D3 colour book, RAL D4 atlas, RAL D6 and D8 boxes

Neighbouring hues

RAL Design 290, RAL Design 310

Loose colour samples from this group

Click a colour for the available formats, or see the full product range in the shop.

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