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Pantone 448 C, also referred to as "the ugliest colour in the world", is a colour in the Pantone colour system. Described as a "drab dark brown", it was selected in 2016 as the colour for plain tobacco and cigarette packaging in Australia, after market researchers determined that it was the least attractive colour. The Australian Department of Health initially referred to the colour as "olive green", but the name was changed after concerns were expressed by the Australian Olive Association.

Since 2016, the same colour has also been used for plain cigarette packaging in France, the United Kingdom, Israel, Norway, New Zealand, Slovenia, Saudi Arabia, and Turkey.

The colour has also been widely but erroneously reported as being known as "opaque couché"; in fact this is simply French for "layered opaque", in reference to being used on coated paper. The confusion appears to have arisen because "PANTONE opaque couché" is the French name of a swatch library (palette) used in Adobe Illustrator containing this colour and intended for printing in solid ink colours on coated paper; in English this library is known as "PANTONE solid coated".

Impossible colors (forbidden, non-physical, unrealizable or chimerical colors) are supposed colors that do not appear in ordinary visual functioning. Non-physical colors are those notionally resulting from combinations of retinal outputs which cannot arise in normal vision. Chimerical colors are perceived, typically transiently, through contrast effects.

Eigengrau (German: "intrinsic gray", lit. "own gray"; pronounced [ˈʔaɪ̯gn̩ˌgʁaʊ̯]), also called Eigenlicht (Dutch and German: "own light"), dark light, or brain gray, is the uniform dark gray background that many people report seeing in the absence of light. The term Eigenlicht dates back to the nineteenth century, but has rarely been used in recent scientific publications. Common scientific terms for the phenomenon include "visual noise" or "background adaptation". These terms arise due to the perception of an ever-changing field of tiny black and white dots seen in the phenomenon.

Eigengrau is perceived as lighter than a black object in normal lighting conditions, because contrast is more important to the visual system than absolute brightness. For example, the night sky looks darker than Eigengrau because of the contrast provided by the stars.

YInMn Blue (for yttrium, indium, manganese), also known as Oregon Blue, Mas Blue, or Yin Min Blue, is an inorganic blue pigment that was discovered accidentally by Professor Mas Subramanian and his then-graduate student Andrew E. Smith at Oregon State University in 2009. It is the first inorganic blue pigment discovered in 200 years, since cobalt blue was identified in 1802.

The compound has a unique trigonal bipyramidal structure, and further research has discovered it may be modified to create green, purple, and orange pigments.

International orange is a color used in the aerospace industry to set objects apart from their surroundings, similar to safety orange, but deeper and with a more reddish tone.

Non-photo blue (or non-repro blue) is a common tool used in the graphic design and print industry.

In many languages, the colors described in English as "blue" and "green" are colexified, i.e. expressed using a single cover term. To describe this English lexical gap, linguists use the portmanteau word grue, from green and blue, which the philosopher Nelson Goodman coined—with a different meaning—in his 1955 Fact, Fiction, and Forecast to illustrate his "new riddle of induction".

The exact definition of "blue" and "green" may be complicated by the speakers not primarily distinguishing the hue, but using terms that describe other color components such as saturation and luminosity, or other properties of the object being described. For example, "blue" and "green" might be distinguished, but a single term might be used for both if the color is dark. Furthermore, green might be associated with yellow, and blue with black or gray.

According to Brent Berlin and Paul Kay's 1969 study Basic Color Terms: Their Universality and Evolution, distinct terms for brown, purple, pink, orange and grey will not emerge in a language until the language has made a distinction between green and blue. In their account of the development of color terms the first terms to emerge are those for white/black (or light/dark), red and green/yellow.

Grue and bleen are examples of logical predicates coined by Nelson Goodman in Fact, Fiction, and Forecast to illustrate the "new riddle of induction" – a successor to Hume's original problem. These predicates are unusual because their application is time-dependent; many have tried to solve the new riddle on those terms, but Hilary Putnam and others have argued such time-dependency depends on the language adopted, and in some languages it is equally true for natural-sounding predicates such as "green." For Goodman they illustrate the problem of projectible predicates and ultimately, which empirical generalizations are law-like and which are not. Goodman's construction and use of grue and bleen illustrates how philosophers use simple examples in conceptual analysis.

RAL is a colour management system used in Europe that is created and administered by the German RAL gGmbH (RAL non-profit LLC), which is a subsidiary of the German RAL Institute. In colloquial speech, RAL refers to the RAL Classic system, mainly used for varnish and powder coating, but now plastics as well. Approved RAL products are provided with a hologram to make unauthorised versions difficult to produce. Imitations may show different hue and colour when observed under various light sources.

Mummy brown, also known as Egyptian brown or Caput Mortuum,^: 254 is a rich brown bituminous pigment with good transparency, sitting between burnt umber and raw umber in tint. The pigment was made from the flesh of mummies mixed with white pitch and myrrh. Mummy brown was extremely popular from the mid-eighteenth to the nineteenth centuries. However, fresh supplies of mummies diminished, and artists were less satisfied with the pigment's permanency and finish. By 1915, demand had significantly declined. Suppliers ceased to offer it by the middle of the twentieth century.^: 82

Mummy brown was one of the favourite colours of the Pre-Raphaelites. It was used by many artists, including Eugene Delacroix, William Beechey, Edward Burne-Jones, Lawrence Alma-Tadema, and Martin Drolling.