RAL Design System plus — hue 330

With an average hue angle of 333 degrees, 330 lies on the way back to the warmth optimum, which is at around 50 degrees in the oranges. By the short route — via 360 — the distance to it is smaller than from 280 or 290. That is exactly what you see: a shade from 330 cannot be called warm, but the chill that comes with the blue-violet part is gone here.

In practice that means a different kind of usability. The hues around 280 and 290 ask for cool materials: steel, glass, concrete. A shade from 330 also tolerates warm materials beside it — leather, textile, oiled timber, brass — without tension arising. For interiors this is therefore the most tolerant hue of the violet area.

Towards the top this hue runs out into pink, not into lilac. RAL Design 330 70 10 is called Mist pink and RAL Design 330 80 15 Lovely pink, with light reflectance values of 43.2 and 58.0. That is a different sort of light surface from those in 300 and 310: not a cool tint that can start to read as grey, but a light colour with a clear direction of its own.

All 42 colours in this group

RAL 330 20 20 — Profound mauveView RAL 330 20 20 →RAL 330 20 25 — Opulent mauveView RAL 330 20 25 →RAL 330 30 15 — Currant violetView RAL 330 30 15 →RAL 330 30 20 — Mexican purpleView RAL 330 30 20 →RAL 330 30 25 — Parma plum redView RAL 330 30 25 →RAL 330 30 30 — Intense purpleView RAL 330 30 30 →RAL 330 30 35 — Opulent purpleView RAL 330 30 35 →RAL 330 30 40 — Intense mauveView RAL 330 30 40 →RAL 330 40 10 — Patina violetView RAL 330 40 10 →RAL 330 40 15 — Dark purple greyView RAL 330 40 15 →RAL 330 40 20 — Amaranth redView RAL 330 40 20 →RAL 330 40 25 — Deep magentaView RAL 330 40 25 →RAL 330 40 30 — Phloxflower violetView RAL 330 40 30 →RAL 330 40 35 — Thistle mauveView RAL 330 40 35 →RAL 330 40 40 — Visiona redView RAL 330 40 40 →RAL 330 40 45 — Purpurite redView RAL 330 40 45 →RAL 330 50 10 — Burlap greyView RAL 330 50 10 →RAL 330 50 15 — Sapphire pinkView RAL 330 50 15 →RAL 330 50 20 — Dianthus mauveView RAL 330 50 20 →RAL 330 50 25 — Crystal pinkView RAL 330 50 25 →RAL 330 50 30 — Tulipan violetView RAL 330 50 30 →RAL 330 50 35 — Violet redView RAL 330 50 35 →RAL 330 50 40 — Orchid purpleView RAL 330 50 40 →RAL 330 60 10 — Greige violetView RAL 330 60 10 →RAL 330 60 15 — Vesuvian violetView RAL 330 60 15 →RAL 330 60 20 — Gentian violetView RAL 330 60 20 →RAL 330 60 25 — Wilhelminian pinkView RAL 330 60 25 →RAL 330 60 30 — Stage mauveView RAL 330 60 30 →RAL 330 60 35 — Cheddar pink mauveView RAL 330 60 35 →RAL 330 60 40 — Colombo red mauveView RAL 330 60 40 →RAL 330 70 10 — Mist pinkView RAL 330 70 10 →RAL 330 70 15 — Leek blossom pinkView RAL 330 70 15 →RAL 330 70 20 — Strawberry pinkView RAL 330 70 20 →RAL 330 70 25 — Purple pinkView RAL 330 70 25 →RAL 330 70 30 — Clover pinkView RAL 330 70 30 →RAL 330 80 10 — Purple whiteView RAL 330 80 10 →RAL 330 80 15 — Lovely pinkView RAL 330 80 15 →RAL 330 80 20 — Designer pinkView RAL 330 80 20 →RAL 330 85 05 — Light magnolia roseView RAL 330 85 05 →RAL 330 85 10 — Raspberry pinkView RAL 330 85 10 →RAL 330 85 15 — Heavenly pinkView RAL 330 85 15 →RAL 330 90 05 — Delicacy whiteView RAL 330 90 05 →

More about hue 330

That shifts the field of application as well. Where the lilac shades mainly end up in offices and healthcare, these pink shades are common in retail, cosmetics, hospitality and housing. Do note, though, that pink on a large surface reacts strongly to the skin of the people beside it: in a room with plenty of daylight and light walls, a shade from this area strengthens the red component in faces, which in changing rooms and mirror walls ought to be a deliberate choice and not an incidental one.

Red-violet pigments cover less well than neutral ones, and that works out here just as it does in the red hues at the beginning of the circle: the film thickness starts to count towards the final colour. Two batches with the same code can differ visibly when they are built up or sprayed differently, and on an edge or a corner where the coat lies thinner the colour shifts visibly towards the substrate.

With the saturated shades from this hue — RAL Design 330 30 35 Opulent purple, 330 40 30 Phloxflower violet, 330 40 45 Purpurite red — an extra coat is therefore needed more often than the calculation indicates. Allow for that in advance and assess the end result on the A4 colour samples as the colour standard, never on a fan-deck sample.

42 shades, from L\* 20 to L\* 90 and from C\* 05 to C\* 45. The saturation thus goes one block higher than in 310 and 320: the range gains intensity as the red returns, and that continues in 340 and above. At the bottom lie RAL Design 330 20 20 Profound mauve with a light reflectance value of 6.5 and above it the dark middle field; at the top stands RAL Design 330 90 05 Delicacy white at 77.8. The middle area — RAL Design 330 50 20 Dianthus mauve and 330 60 15 Vesuvian violet — yields the shades that keep hold of their direction on large surfaces without demanding attention.

Technical data

Hue: 330 · Shades: 42 · Lightness: L\* 20–90 · Saturation: C\* 05–45 · Lab values: per shade on the colour page · LRV: 6.5 to 77.8 · 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 320, RAL Design 340

Loose colour samples from this group

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