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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 #E1FAA2 it is the complementary color #1E055D. 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.

Exposures are based on the same hue and represent lighter versions of the current color #E1FAA2. 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 #E1FAA2 shade: #E6FA9D, #F7FFB0, #FFFFC3, #FFFFD6 and #FFFFE9

You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.

Shades are based on the same hue and represent a darker version of the current color #E1FAA2. 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 #E1FAA2 shade: #E1FAA2, #D0E88F, #BFD67C, #AEC469 and #9DB256

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 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 #E1FAA2 shade: #E1FAA2, #F8FAA2, #FAE3A2, #FACCA2 and #FAB4A2

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 are created by shifting the hue towards green, blue and violet.

The following colder shades match the #E1FAA2 shade: #E1FAA2, #C9FAA2, #B2FAA2, #A2FAAB and #A2FAC2

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 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 #E1FAA2 shade matches the following richer shades: #E1FAA2

An example is the development from a pale pink to a strong and bright red.

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 #E1FAA2 shade: #E1FAA2, #DDF2AA, #DAEAB2, #D7E2BA and #D3DAC2

An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.

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 #E1FAA2 shade: #FAE4A2, #F8FAA2, #E1FAA2, #CAFAA2 and #B2FAA2

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

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 #E1FAA2 shade: #C8F654, #D4F87B, #E1FAA2, #EDFCCA and #FAFEF1

Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye

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 #E1FAA2 shade: #E1FAA2, #A2FACD and #EFA2FA

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.

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 #E1FAA2 shade: #E1FAA2, #A2E1FA and #FAA2E1

The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent 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 #E1FAA2 shade: #E1FAA2, #A2FACD, #BBA2FA and #FAA2D0

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

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 #E1FAA2 shade: #E1FAA2, #A2FAE7, #BBA2FA and #FAA2B5

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

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

Complementary color

CMYK 68 / 95 / 0 / 64

HEX #1E055D

RGB 30 5 93

HSL 257.05, 0.9%, 0.19%

LAB 10.37, 36.32, -46.09

 

CMYK 8 / 0 / 37 / 2

HEX #E6FA9D

RGB 230 250 157

HSL 72.9, 0.9%, 0.8%

LAB 95, -20.77, 42.44

 

CMYK 3 / 0 / 31 / 0

HEX #F7FFB0

RGB 247 255 176

HSL 66.08, 1%, 0.85%

LAB 97.8, -14.64, 36.95

 

CMYK 0 / 0 / 24 / 0

HEX #FFFFC3

RGB 255 255 195

HSL 60, 1%, 0.88%

LAB 98.72, -9.28, 28.77

 

CMYK 0 / 0 / 16 / 0

HEX #FFFFD6

RGB 255 255 214

HSL 60, 1%, 0.92%

LAB 99.08, -6.61, 19.64

 

CMYK 0 / 0 / 9 / 0

HEX #FFFFE9

RGB 255 255 233

HSL 60, 1%, 0.96%

LAB 99.48, -3.69, 10.51

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 10 / 0 / 38 / 9

HEX #D0E88F

RGB 208 232 143

HSL 76.18, 0.66%, 0.74%

LAB 88.5, -21.92, 40.67

 

CMYK 11 / 0 / 42 / 16

HEX #BFD67C

RGB 191 214 124

HSL 75.33, 0.52%, 0.66%

LAB 82.18, -21.79, 41.82

 

CMYK 11 / 0 / 46 / 23

HEX #AEC469

RGB 174 196 105

HSL 74.51, 0.44%, 0.59%

LAB 75.76, -21.62, 42.98

 

CMYK 12 / 0 / 52 / 30

HEX #9DB256

RGB 157 178 86

HSL 73.7, 0.37%, 0.52%

LAB 69.24, -21.39, 44.13

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 1 / 0 / 35 / 2

HEX #F8FAA2

RGB 248 250 162

HSL 61.36, 0.9%, 0.81%

LAB 96.38, -13.47, 42.03

 

CMYK 0 / 9 / 35 / 2

HEX #FAE3A2

RGB 250 227 162

HSL 44.32, 0.9%, 0.81%

LAB 90.72, -1.24, 34.65

 

CMYK 0 / 18 / 35 / 2

HEX #FACCA2

RGB 250 204 162

HSL 28.64, 0.9%, 0.81%

LAB 85.06, 10.59, 27.06

 

CMYK 0 / 28 / 35 / 2

HEX #FAB4A2

RGB 250 180 162

HSL 12.27, 0.9%, 0.81%

LAB 79.37, 23.17, 19.28

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 20 / 0 / 35 / 2

HEX #C9FAA2

RGB 201 250 162

HSL 93.41, 0.9%, 0.81%

LAB 93.19, -30.59, 37.25

 

CMYK 29 / 0 / 35 / 2

HEX #B2FAA2

RGB 178 250 162

HSL 109.09, 0.9%, 0.81%

LAB 91.88, -38.33, 35.29

 

CMYK 35 / 0 / 32 / 2

HEX #A2FAAB

RGB 162 250 171

HSL 126.14, 0.9%, 0.81%

LAB 91.23, -41.95, 29.76

 

CMYK 35 / 0 / 22 / 2

HEX #A2FAC2

RGB 162 250 194

HSL 141.82, 0.9%, 0.81%

LAB 91.66, -37.96, 18.64

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 9 / 0 / 30 / 5

HEX #DDF2AA

RGB 221 242 170

HSL 77.5, 0.73%, 0.81%

LAB 92.48, -18.58, 32.54

 

CMYK 7 / 0 / 24 / 8

HEX #DAEAB2

RGB 218 234 178

HSL 77.14, 0.57%, 0.81%

LAB 90.31, -14.62, 25.49

 

CMYK 5 / 0 / 18 / 11

HEX #D7E2BA

RGB 215 226 186

HSL 76.5, 0.41%, 0.81%

LAB 88.15, -10.5, 18.34

 

CMYK 3 / 0 / 11 / 15

HEX #D3DAC2

RGB 211 218 194

HSL 77.5, 0.24%, 0.81%

LAB 85.95, -6.57, 11

 

CMYK 0 / 9 / 35 / 2

HEX #FAE4A2

RGB 250 228 162

HSL 45, 0.9%, 0.81%

LAB 90.97, -1.75, 34.98

 

CMYK 1 / 0 / 35 / 2

HEX #F8FAA2

RGB 248 250 162

HSL 61.36, 0.9%, 0.81%

LAB 96.38, -13.47, 42.03

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 19 / 0 / 35 / 2

HEX #CAFAA2

RGB 202 250 162

HSL 92.73, 0.9%, 0.81%

LAB 93.25, -30.24, 37.34

 

CMYK 29 / 0 / 35 / 2

HEX #B2FAA2

RGB 178 250 162

HSL 109.09, 0.9%, 0.81%

LAB 91.88, -38.33, 35.29

 

CMYK 19 / 0 / 66 / 4

HEX #C8F654

RGB 200 246 84

HSL 77.04, 0.9%, 0.65%

LAB 91.16, -36.88, 70.08

 

CMYK 15 / 0 / 50 / 3

HEX #D4F87B

RGB 212 248 123

HSL 77.28, 0.9%, 0.73%

LAB 92.82, -30.15, 55.65

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 6 / 0 / 20 / 1

HEX #EDFCCA

RGB 237 252 202

HSL 78, 0.89%, 0.89%

LAB 96.78, -13.24, 22.34

 

CMYK 2 / 0 / 5 / 0

HEX #FAFEF1

RGB 250 254 241

HSL 78.46, 0.87%, 0.97%

LAB 99.05, -3.56, 5.74

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 35 / 0 / 18 / 2

HEX #A2FACD

RGB 162 250 205

HSL 149.32, 0.9%, 0.81%

LAB 91.89, -35.88, 13.31

 

CMYK 4 / 35 / 0 / 2

HEX #EFA2FA

RGB 239 162 250

HSL 292.5, 0.9%, 0.81%

LAB 76.74, 42.53, -32.45

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 35 / 10 / 0 / 2

HEX #A2E1FA

RGB 162 225 250

HSL 197.05, 0.9%, 0.81%

LAB 86.22, -13.9, -18.51

 

CMYK 0 / 35 / 10 / 2

HEX #FAA2E1

RGB 250 162 225

HSL 317.05, 0.9%, 0.81%

LAB 77.04, 41.58, -18.32

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 35 / 0 / 18 / 2

HEX #A2FACD

RGB 162 250 205

HSL 149.32, 0.9%, 0.81%

LAB 91.89, -35.88, 13.31

 

CMYK 25 / 35 / 0 / 2

HEX #BBA2FA

RGB 187 162 250

HSL 257.05, 0.9%, 0.81%

LAB 71.76, 27.13, -40.55

 

CMYK 0 / 35 / 17 / 2

HEX #FAA2D0

RGB 250 162 208

HSL 328.64, 0.9%, 0.81%

LAB 76.51, 38.88, -9.85

 

CMYK 10 / 0 / 35 / 2

HEX #E1FAA2

RGB 225 250 162

HSL 77.05, 0.9%, 0.81%

LAB 94.73, -22.01, 39.56

 

CMYK 35 / 0 / 8 / 2

HEX #A2FAE7

RGB 162 250 231

HSL 167.05, 0.9%, 0.81%

LAB 92.5, -30.53, 0.73

 

CMYK 25 / 35 / 0 / 2

HEX #BBA2FA

RGB 187 162 250

HSL 257.05, 0.9%, 0.81%

LAB 71.76, 27.13, -40.55

 

CMYK 0 / 35 / 28 / 2

HEX #FAA2B5

RGB 250 162 181

HSL 347.05, 0.9%, 0.81%

LAB 75.76, 35.02, 3.84

 

Description

Color code: HEX #E1FAA2 | qconv.com Color code: HEX #E1FAA2 | qconv.com - big

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, 225 red, 250 green and 162 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.
225 250 162 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 10 cyan, none magenta, 35 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.
10% 0% 35% 2% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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