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Complementary color
Complementary means first and foremost complementary. With color tones there is always a direct complementary color that is exactly opposite to the other.
With this color tone CMYK 50 / 0 / 26 / 2 it is the complementary color CMYK 0 / 96 / 46 / 49. Both colors form the strongest contrast to each other and are especially recommended for use in direct connection with each other.
If you display a text with its complementary color on a background with the displayed color, you will get a representation that is pleasant to the eyes and clearly too indistinguishable from each other. However, this is especially true for white, black and gray tones. With these, the contrasting colors are particularly natural, pleasant and common for our eyes.
Lighter colors
Exposures are based on the same hue and represent lighter versions of the current color CMYK 50 / 0 / 26 / 2. Besides the border colors white and black, almost all colors have lighter versions that can be used optimally in web design
The following lighter shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 48 / 0 / 28 / 2, CMYK 42 / 0 / 22 / 0, CMYK 36 / 0 / 15 / 0, CMYK 29 / 0 / 7 / 0 and CMYK 22 / 0 / 0 / 0
You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.
Darker colors
Shades are based on the same hue and represent a darker version of the current color CMYK 50 / 0 / 26 / 2. In addition to the border colors white and black, almost all colors have shades that can be used optimally in web design.
The following darker shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 50 / 0 / 26 / 2, CMYK 53 / 0 / 28 / 9, CMYK 57 / 0 / 31 / 16, CMYK 62 / 0 / 35 / 23 and CMYK 68 / 0 / 39 / 30
Among other things, you can use them to modify buttons with mouse-over effects (called :hover in CSS) or generate other color gradations.
Warmer colors
Warmer colors are created when the hue is shifted towards red, orange and yellow. These colors convey warmth, energy and an inviting atmosphere.
The following warmer shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 49 / 0 / 26 / 2, CMYK 49 / 0 / 39 / 2, CMYK 46 / 0 / 49 / 2, CMYK 33 / 0 / 49 / 2 and CMYK 20 / 0 / 49 / 2
They are stimulating and dynamic and are often used to attract attention or create a friendly and lively mood. An example of this transition is a shift from a cool blue through purple to red and orange.
Colder colors
Colder colors are created by shifting the hue towards green, blue and violet.
The following colder shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 49 / 0 / 26 / 2, CMYK 49 / 0 / 12 / 2, CMYK 49 / 1 / 0 / 2, CMYK 49 / 14 / 0 / 2 and CMYK 49 / 28 / 0 / 2
These colors have a cool, calming effect and create distance. They are often used to convey a sense of calm, freshness and stability. A classic example of this color range is a gradient from yellow to green to a deep blue or violet, reminiscent of water and sky.
Richer colors
Richer colors are created by increasing the saturation, which makes the colors appear more intense, brighter and stronger. A color with high saturation is more eye-catching and appears more vibrant and powerful. This effect can be used to emphasize important elements or to create a vibrant design.
The CMYK 50 / 0 / 26 / 2 shade matches the following richer shades: CMYK 49 / 0 / 26 / 2
An example is the development from a pale pink to a strong and bright red.
Paler colors
Less saturated colors are created by reducing the saturation, which makes the colors more muted, subtle and pastel-like. As the saturation is reduced further, they become closer and closer to a shade of gray. These colors appear calmer and more elegant and are suitable for a restrained and harmonious design.
The following paler shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 49 / 0 / 26 / 2, CMYK 43 / 0 / 22 / 6, CMYK 35 / 0 / 18 / 11, CMYK 27 / 0 / 14 / 15 and CMYK 18 / 0 / 10 / 19
An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.
Analogue colors
The analog color scheme uses colors that are directly adjacent to each other in the color wheel. They usually fit together well and result in a calm and comfortable design.
The following analogous shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 46 / 0 / 49 / 2, CMYK 49 / 0 / 40 / 2, CMYK 49 / 0 / 26 / 2, CMYK 49 / 0 / 13 / 2 and CMYK 49 / 0 / 0 / 2
Analog color schemes are often found in nature. They are harmonious and pleasant to the eye. It is important that they have enough contrast. Choose one color to dominate and a second to support. The third color is used (together with black, white or grey) as an accent
Monochromatic colors
The monochromatic color scheme uses colors that are on the same wavelength. They usually fit together very well and result in a pleasant and evenly colored design.
The following monochrome shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 81 / 0 / 42 / 3, CMYK 65 / 0 / 34 / 3, CMYK 49 / 0 / 26 / 2, CMYK 34 / 0 / 18 / 2 and CMYK 19 / 0 / 9 / 1
Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye
Partial complementary colors
The partial complementary color scheme is a variation of the complementary color scheme. In addition to the base color, the two colors adjacent to the complement are used.
The following split-complementary shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 50 / 0 / 26 / 2, CMYK 49 / 33 / 0 / 2 and CMYK 0 / 46 / 49 / 2
This color scheme has the same strong visual contrast as the complementary color scheme, but is not as contrasting as the direct complementary color. The partial complementary color scheme is a good choice for designs. These colors usually complement each other very well.
Triadic colors
A triadic color scheme uses colors evenly spaced around the color wheel. Triadic color harmonies are usually quite vivid, even if pale or unsaturated colors are used.
The following triaden shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 50 / 0 / 26 / 2, CMYK 26 / 49 / 0 / 2 and CMYK 0 / 26 / 49 / 2
The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.
Rectangular (tetradic) colors
The rectangular or tetradish color scheme uses four colors arranged in two complementary pairs. This rich color scheme offers many variation possibilities.
The following tetraden shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 50 / 0 / 26 / 2, CMYK 49 / 33 / 0 / 2, CMYK 0 / 49 / 23 / 2 and CMYK 0 / 16 / 49 / 2
It works best if you let one of these colors dominate. You should also pay attention to the balance between warm and cold colors in the design
Square colors
The square color scheme is similar to the rectangular color scheme, with all four colors evenly distributed around the color circle. The square color scheme works best when one color dominates.
The following squaren shades match the CMYK 50 / 0 / 26 / 2 shade: CMYK 50 / 0 / 26 / 2, CMYK 49 / 48 / 0 / 2, CMYK 0 / 49 / 23 / 2 and CMYK 0 / 2 / 49 / 2
Again, pay attention to the balance between warm and cold colors in the design.
Note
Colors are displayed differently on each device. Please note that the colors do not always match 100%. Differences can occur when real colors are processed. We recommend a comparison of the real colors. We do not assume any liability.
Display options
Primary color
Complementary color
Lighter colors
Darker colors
Warmer colors
Colder colors
Richer colors
Paler colors
Analogue colors
Monochromatic colors
Partial complementary colors
Triadic colors
Rectangular (tetradic) colors
Square colors
Description
Since the color values are relatively high compared to others, this hue appears lighter to us.
The breakdown of the color into the RGB color system: of 255 maximum color components, 125 red, 250 green and 185 blue.
The mixing ratio of these colors results in the displayed hue in the middle of the overlaps.
In the illustration you can see how the color is composed of the three components: red (top),green (bottom right) and blue (bottom left). In the middle you can see the result color.
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 50 cyan, none magenta, 26 yellow and 2 key.
The mixing ratio of these colors results in the displayed hue in the middle of the overlaps.
In the diagram you can see how the color is composed of the four components cyan (top left),magenta (top right),yellow (bottom right) and black or key (bottom left). In the middle you can see the result color.
Verification of their color palette as a manufacturer!
Provide designers and agencies with accurate color values.
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RAL® to PANTONE®
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HKS® to PANTONE®
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PANTONE® to CMYK
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PANTONE® to HEX
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PANTONE® to RAL®
convert from Pantone®-number (Pantone 0000) to RAL®-number (RAL 0000)
PANTONE® to HKS®
convert from Pantone®-number (Pantone 0000) to HKS®-number (HKS 00)
PANTONE® to Sherwin Williams®
convert from Pantone®-number (Pantone 0000) to Sherwin Williams®-number (SW 0000)
PANTONE® to NCS®
convert from Pantone®-number (Pantone 0000) to NCS-number (S0000-X00X)
Sherwin Williams® to RGB
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Sherwin Williams® to RGBA
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Sherwin Williams® to CMYK
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Sherwin Williams® to HEX
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Sherwin Williams® to RAL®
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Sherwin Williams® to HKS®
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