Untitled 89A257
Untitled 89A257 (#89A257) is a medium, gently muted shade of chartreuse. In paint terms it sits in the balanced family with HSL values of 80°, 30%, 49%, which means it behaves predictably in interiors — a chalky beige cast in shade — without going chalky or muddy when the wall is large.
The closest commercially available paint matches are Sherwin-Williams Glade Green (SW 9669, #A4A571); Benjamin Moore Green Thumb (CSP-870, #8DAD61); Behr Back to Nature (S340-4, #A8B17F). These are the nearest swatches by Lab-color distance — your local paint counter can custom-mix the exact hex if none of them are close enough.
On a built-in bookshelf in a typical living room, Untitled 89A257 reads as a confident, medium color rather than a background. It holds its character at scale, so test a 24×24 inch board on the wall before committing — a step covered in our paint-sampling checklist — because the chip in your hand will always look slightly different from the same color spread across forty square feet.
Pair Untitled 89A257 with inky charcoals, raw wood tones, and unpolished brass hardware for a layered, lived-in look. If you prefer something cleaner and more contemporary, drop the wood and let it sit against bright whites and matte black fixtures — there is a side-by-side reference of warm vs. cool styling that walks through both directions.
When using this color on cabinetry, request a pre-catalyzed lacquer or a urethane-modified alkyd; standard wall paint will not hold up to daily door pulls.
A short way to remember Untitled 89A257: restful enough for a bedroom, confident enough for a foyer. That single sentence is usually enough to decide whether to pin it to your moodboard or move on to the next swatch.
Where Untitled 89A257 tends to fail is in rooms it was never asked about. A chartreuse designed for a calm bedroom can read sluggish in a kitchen with bright daylight pouring through a sliding door, and a color that anchors a moody dining room can disappear in a long, north-facing hallway. The fix is rarely to abandon the color — it is to use it on a smaller surface, or to lift the lightness by a single step. Both adjustments are inexpensive once you understand what the color is doing.