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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 RGB 193 17 15 it is the complementary color RGB 62 238 240. 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 RGB 193 17 15. 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 RGB 193 17 15 shade: RGB 198 17 10, RGB 215 35 29, RGB 232 53 48, RGB 249 71 67 and RGB 255 89 86

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 RGB 193 17 15. 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 RGB 193 17 15 shade: RGB 193 17 15, RGB 176 0 0, RGB 159 0 0, RGB 142 0 0 and RGB 125 0 0

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 RGB 193 17 15 shade: RGB 194 16 14 and RGB 194 14 14

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 RGB 193 17 15 shade: RGB 194 16 14, RGB 194 65 14, RGB 194 113 14, RGB 194 162 14 and RGB 178 194 14

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 RGB 193 17 15 shade matches the following richer shades: RGB 194 16 14

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 RGB 193 17 15 shade: RGB 194 16 14, RGB 177 33 31, RGB 160 49 48, RGB 143 66 65 and RGB 126 82 82

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 RGB 193 17 15 shade: RGB 194 14 110, RGB 194 14 62, RGB 194 14 14, RGB 194 62 14 and RGB 194 110 14

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 RGB 193 17 15 shade: RGB 117 10 8, RGB 156 13 11, RGB 194 16 14, RGB 232 19 17 and RGB 239 54 51

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 RGB 193 17 15 shade: RGB 193 17 15, RGB 158 194 14 and RGB 14 86 194

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 RGB 193 17 15 shade: RGB 193 17 15, RGB 14 194 14 and RGB 14 14 194

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 RGB 193 17 15 shade: RGB 193 17 15, RGB 158 194 14, RGB 14 194 194 and RGB 50 14 194

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 RGB 193 17 15 shade: RGB 193 17 15, RGB 104 194 14, RGB 14 194 194 and RGB 104 14 194

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 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

Complementary color

CMYK 74 / 1 / 0 / 6

HEX #3EEEF0

RGB 62 238 240

HSL 180.67, 0.86%, 0.59%

LAB 86.24, -41.71, -13.56

 

CMYK 0 / 91 / 95 / 22

HEX #C6110A

RGB 198 17 10

HSL 2.23, 0.9%, 0.41%

LAB 41.89, 64.49, 52.46

 

CMYK 0 / 84 / 87 / 16

HEX #D7231D

RGB 215 35 29

HSL 1.94, 0.76%, 0.48%

LAB 46.63, 66.06, 49.81

 

CMYK 0 / 77 / 79 / 9

HEX #E83530

RGB 232 53 48

HSL 1.63, 0.8%, 0.55%

LAB 51.74, 66.68, 46.19

 

CMYK 0 / 71 / 73 / 2

HEX #F94743

RGB 249 71 67

HSL 1.32, 0.94%, 0.62%

LAB 57.13, 66.65, 42.61

 

CMYK 0 / 65 / 66 / 0

HEX #FF5956

RGB 255 89 86

HSL 1.07, 1%, 0.67%

LAB 60.85, 62.71, 36.7

 

CMYK 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

CMYK 0 / 100 / 100 / 31

HEX #B00000

RGB 176 0 0

HSL 0, 1%, 0.35%

LAB 36.42, 60.66, 50.81

 

CMYK 0 / 100 / 100 / 38

HEX #9F0000

RGB 159 0 0

HSL 0, 1%, 0.31%

LAB 32.64, 56.28, 46.7

 

CMYK 0 / 100 / 100 / 44

HEX #8E0000

RGB 142 0 0

HSL 0, 1%, 0.28%

LAB 28.77, 51.81, 42.14

 

CMYK 0 / 100 / 100 / 51

HEX #7D0000

RGB 125 0 0

HSL 0, 1%, 0.25%

LAB 24.83, 47.24, 37.14

 

CMYK 0 / 92 / 93 / 24

HEX #C2100E

RGB 194 16 14

HSL 0.67, 0.87%, 0.41%

LAB 41.01, 63.62, 50.13

 

CMYK 0 / 93 / 93 / 24

HEX #C20E0E

RGB 194 14 14

HSL 0, 0.87%, 0.41%

LAB 40.92, 63.88, 50.08

 

CMYK 0 / 92 / 93 / 24

HEX #C2100E

RGB 194 16 14

HSL 0.67, 0.87%, 0.41%

LAB 41.01, 63.62, 50.13

 

CMYK 0 / 66 / 93 / 24

HEX #C2410E

RGB 194 65 14

HSL 17, 0.87%, 0.41%

LAB 46.02, 49.67, 53.39

 

CMYK 0 / 42 / 93 / 24

HEX #C2710E

RGB 194 113 14

HSL 33, 0.87%, 0.41%

LAB 55.39, 25.89, 59.94

 

CMYK 0 / 16 / 93 / 24

HEX #C2A20E

RGB 194 162 14

HSL 49.33, 0.87%, 0.41%

LAB 67.53, -0.83, 68.92

 

CMYK 8 / 0 / 93 / 24

HEX #B2C20E

RGB 178 194 14

HSL 65.33, 0.87%, 0.41%

LAB 74.88, -24.23, 73.95

 

CMYK 0 / 92 / 93 / 24

HEX #C2100E

RGB 194 16 14

HSL 0.67, 0.87%, 0.41%

LAB 41.01, 63.62, 50.13

 

CMYK 0 / 92 / 93 / 24

HEX #C2100E

RGB 194 16 14

HSL 0.67, 0.87%, 0.41%

LAB 41.01, 63.62, 50.13

 

CMYK 0 / 81 / 82 / 31

HEX #B1211F

RGB 177 33 31

HSL 0.82, 0.7%, 0.41%

LAB 38.78, 55.82, 38.91

 

CMYK 0 / 69 / 70 / 37

HEX #A03130

RGB 160 49 48

HSL 0.54, 0.54%, 0.41%

LAB 37.63, 45.64, 26.8

 

CMYK 0 / 54 / 55 / 44

HEX #8F4241

RGB 143 66 65

HSL 0.77, 0.38%, 0.41%

LAB 38.05, 32.51, 16.23

 

CMYK 0 / 35 / 35 / 51

HEX #7E5252

RGB 126 82 82

HSL 0, 0.21%, 0.41%

LAB 39.71, 18.42, 7.58

 

CMYK 0 / 93 / 43 / 24

HEX #C20E6E

RGB 194 14 110

HSL 328, 0.87%, 0.41%

LAB 42.63, 68.6, -4.27

 

CMYK 0 / 93 / 68 / 24

HEX #C20E3E

RGB 194 14 62

HSL 344, 0.87%, 0.41%

LAB 41.42, 65.3, 24.31

 

CMYK 0 / 93 / 93 / 24

HEX #C20E0E

RGB 194 14 14

HSL 0, 0.87%, 0.41%

LAB 40.92, 63.88, 50.08

 

CMYK 0 / 68 / 93 / 24

HEX #C23E0E

RGB 194 62 14

HSL 16, 0.87%, 0.41%

LAB 45.56, 50.9, 53.08

 

CMYK 0 / 43 / 93 / 24

HEX #C26E0E

RGB 194 110 14

HSL 32, 0.87%, 0.41%

LAB 54.71, 27.51, 59.45

 

CMYK 0 / 91 / 93 / 54

HEX #750A08

RGB 117 10 8

HSL 1.1, 0.87%, 0.25%

LAB 23.73, 43.12, 32.18

 

CMYK 0 / 92 / 93 / 39

HEX #9C0D0B

RGB 156 13 11

HSL 0.83, 0.87%, 0.33%

LAB 32.66, 53.79, 41.9

 

CMYK 0 / 92 / 93 / 24

HEX #C2100E

RGB 194 16 14

HSL 0.67, 0.87%, 0.41%

LAB 41.01, 63.62, 50.13

 

CMYK 0 / 92 / 93 / 9

HEX #E81311

RGB 232 19 17

HSL 0.56, 0.86%, 0.49%

LAB 49.08, 73.05, 58.01

 

CMYK 0 / 77 / 79 / 6

HEX #EF3633

RGB 239 54 51

HSL 0.96, 0.85%, 0.57%

LAB 53.2, 68.49, 46.5

 

CMYK 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

CMYK 19 / 0 / 93 / 24

HEX #9EC20E

RGB 158 194 14

HSL 72, 0.87%, 0.41%

LAB 73.47, -32.56, 72.25

 

CMYK 93 / 56 / 0 / 24

HEX #0E56C2

RGB 14 86 194

HSL 216, 0.87%, 0.41%

LAB 38.97, 22.28, -61.94

 

CMYK 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

CMYK 93 / 0 / 93 / 24

HEX #0EC20E

RGB 14 194 14

HSL 120, 0.87%, 0.41%

LAB 68.54, -69.24, 66.19

 

CMYK 93 / 93 / 0 / 24

HEX #0E0EC2

RGB 14 14 194

HSL 240, 0.87%, 0.41%

LAB 24.65, 61.43, -85.58

 

CMYK 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

CMYK 19 / 0 / 93 / 24

HEX #9EC20E

RGB 158 194 14

HSL 72, 0.87%, 0.41%

LAB 73.47, -32.56, 72.25

 

CMYK 93 / 0 / 0 / 24

HEX #0EC2C2

RGB 14 194 194

HSL 180, 0.87%, 0.41%

LAB 71.26, -38.72, -11.41

 

CMYK 74 / 93 / 0 / 24

HEX #320EC2

RGB 50 14 194

HSL 252, 0.87%, 0.41%

LAB 26.41, 62.4, -82.6

 

CMYK 0 / 91 / 92 / 24

HEX #C1110F

RGB 193 17 15

HSL 0.67, 0.86%, 0.41%

LAB 40.85, 63.23, 49.55

 

CMYK 46 / 0 / 93 / 24

HEX #68C20E

RGB 104 194 14

HSL 90, 0.87%, 0.41%

LAB 70.57, -52.43, 68.69

 

CMYK 93 / 0 / 0 / 24

HEX #0EC2C2

RGB 14 194 194

HSL 180, 0.87%, 0.41%

LAB 71.26, -38.72, -11.41

 

CMYK 46 / 93 / 0 / 24

HEX #680EC2

RGB 104 14 194

HSL 270, 0.87%, 0.41%

LAB 32.15, 66.23, -72.91

 

Description

Color code: RGB 193 17 15 | qconv.com Color code: RGB 193 17 15 | qconv.com - big

With this color, red stands out from the other colors. The value that represents the red hue is greater than the other two values. It is far different from the value for the green and blue hue. Since the color values are relatively low compared to others, this hue appears darker to us.

The breakdown of the color into the RGB color system: of 255 maximum color components, 193 red, 17 green and 15 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.
193 17 15 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, none cyan, 91 magenta, 92 yellow and 24 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.
0% 91% 92% 24% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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