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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 210 254 238 it is the complementary color RGB 45 1 17. 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 210 254 238. 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 210 254 238 shade: RGB 215 254 233, RGB 232 255 252 and RGB 249 255 255

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 210 254 238. 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 210 254 238 shade: RGB 210 254 238, RGB 193 236 219, RGB 176 218 200, RGB 159 200 181 and RGB 142 182 162

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 210 254 238 shade: RGB 210 254 238, RGB 210 254 226, RGB 210 254 214, RGB 217 254 210 and RGB 229 254 210

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 210 254 238 shade: RGB 210 254 238, RGB 210 254 249, RGB 210 246 254, RGB 210 234 254 and RGB 210 222 254

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 210 254 238 shade matches the following richer shades: RGB 210 254 238

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 210 254 238 shade: RGB 210 254 238, RGB 213 250 237, RGB 217 246 236, RGB 221 242 235 and RGB 224 239 234

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 210 254 238 shade: RGB 210 254 214, RGB 210 254 226, RGB 210 254 237, RGB 210 254 249 and RGB 210 246 254

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 210 254 238 shade: RGB 129 252 207, RGB 169 253 222, RGB 210 254 238 and RGB 250 254 253

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 210 254 238 shade: RGB 210 254 238, RGB 210 217 254 and RGB 254 220 210

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 210 254 238 shade: RGB 210 254 238, RGB 237 210 254 and RGB 254 237 210

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 210 254 238 shade: RGB 210 254 238, RGB 210 217 254, RGB 254 210 226 and RGB 254 246 210

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 210 254 238 shade: RGB 210 254 238, RGB 215 210 254, RGB 254 210 226 and RGB 248 254 210

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 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

Complementary color

CMYK 0 / 98 / 62 / 82

HEX #2D0111

RGB 45 1 17

HSL 338.18, 0.96%, 0.09%

LAB 5.6, 23.13, 1.26

 

CMYK 15 / 0 / 8 / 0

HEX #D7FEE9

RGB 215 254 233

HSL 147.69, 0.95%, 0.92%

LAB 96.5, -16.44, 5.87

 

CMYK 9 / 0 / 1 / 0

HEX #E8FFFC

RGB 232 255 252

HSL 172.17, 1%, 0.95%

LAB 98.31, -7.99, -1.13

 

CMYK 2 / 0 / 0 / 0

HEX #F9FFFF

RGB 249 255 255

HSL 180, 1%, 0.99%

LAB 99.57, -1.96, -0.7

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 18 / 0 / 7 / 7

HEX #C1ECDB

RGB 193 236 219

HSL 156.28, 0.53%, 0.84%

LAB 90.06, -17.17, 3.64

 

CMYK 19 / 0 / 8 / 15

HEX #B0DAC8

RGB 176 218 200

HSL 154.29, 0.36%, 0.77%

LAB 83.73, -17.28, 4.33

 

CMYK 21 / 0 / 10 / 22

HEX #9FC8B5

RGB 159 200 181

HSL 152.2, 0.27%, 0.7%

LAB 77.29, -17.41, 5.04

 

CMYK 22 / 0 / 11 / 29

HEX #8EB6A2

RGB 142 182 162

HSL 150, 0.22%, 0.64%

LAB 70.74, -17.55, 5.79

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 17 / 0 / 11 / 0

HEX #D2FEE2

RGB 210 254 226

HSL 141.82, 0.96%, 0.91%

LAB 96.03, -19.31, 8.75

 

CMYK 17 / 0 / 16 / 0

HEX #D2FED6

RGB 210 254 214

HSL 125.45, 0.96%, 0.91%

LAB 95.76, -21.44, 14.53

 

CMYK 15 / 0 / 17 / 0

HEX #D9FED2

RGB 217 254 210

HSL 110.45, 0.96%, 0.91%

LAB 96.12, -19.81, 17.14

 

CMYK 10 / 0 / 17 / 0

HEX #E5FED2

RGB 229 254 210

HSL 94.09, 0.96%, 0.91%

LAB 96.9, -15.76, 18.35

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 17 / 0 / 2 / 0

HEX #D2FEF9

RGB 210 254 249

HSL 173.18, 0.96%, 0.91%

LAB 96.58, -14.93, -2.28

 

CMYK 17 / 3 / 0 / 0

HEX #D2F6FE

RGB 210 246 254

HSL 190.91, 0.96%, 0.91%

LAB 94.64, -9.94, -7.73

 

CMYK 17 / 8 / 0 / 0

HEX #D2EAFE

RGB 210 234 254

HSL 207.27, 0.96%, 0.91%

LAB 91.55, -3.84, -12.32

 

CMYK 17 / 13 / 0 / 0

HEX #D2DEFE

RGB 210 222 254

HSL 223.64, 0.96%, 0.91%

LAB 88.5, 2.39, -16.9

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 15 / 0 / 5 / 2

HEX #D5FAED

RGB 213 250 237

HSL 158.92, 0.79%, 0.91%

LAB 95.43, -14.35, 2.24

 

CMYK 12 / 0 / 4 / 4

HEX #D9F6EC

RGB 217 246 236

HSL 159.31, 0.62%, 0.91%

LAB 94.62, -11.28, 1.61

 

CMYK 9 / 0 / 3 / 5

HEX #DDF2EB

RGB 221 242 235

HSL 160, 0.45%, 0.91%

LAB 93.83, -8.17, 1.01

 

CMYK 6 / 0 / 2 / 6

HEX #E0EFEA

RGB 224 239 234

HSL 160, 0.32%, 0.91%

LAB 93.24, -5.86, 0.7

 

CMYK 17 / 0 / 16 / 0

HEX #D2FED6

RGB 210 254 214

HSL 125.45, 0.96%, 0.91%

LAB 95.76, -21.44, 14.53

 

CMYK 17 / 0 / 11 / 0

HEX #D2FEE2

RGB 210 254 226

HSL 141.82, 0.96%, 0.91%

LAB 96.03, -19.31, 8.75

 

CMYK 17 / 0 / 7 / 0

HEX #D2FEED

RGB 210 254 237

HSL 156.82, 0.96%, 0.91%

LAB 96.29, -17.27, 3.46

 

CMYK 17 / 0 / 2 / 0

HEX #D2FEF9

RGB 210 254 249

HSL 173.18, 0.96%, 0.91%

LAB 96.58, -14.93, -2.28

 

CMYK 17 / 3 / 0 / 0

HEX #D2F6FE

RGB 210 246 254

HSL 190.91, 0.96%, 0.91%

LAB 94.64, -9.94, -7.73

 

CMYK 49 / 0 / 18 / 1

HEX #81FCCF

RGB 129 252 207

HSL 158.05, 0.95%, 0.75%

LAB 91.14, -44.84, 11.02

 

CMYK 33 / 0 / 12 / 1

HEX #A9FDDE

RGB 169 253 222

HSL 157.86, 0.95%, 0.83%

LAB 93.43, -31.92, 6.79

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 2 / 0 / 0 / 0

HEX #FAFEFD

RGB 250 254 253

HSL 165, 0.67%, 0.99%

LAB 99.34, -1.49, 0.01

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 17 / 15 / 0 / 0

HEX #D2D9FE

RGB 210 217 254

HSL 230.45, 0.96%, 0.91%

LAB 87.23, 5.01, -18.8

 

CMYK 0 / 13 / 17 / 0

HEX #FEDCD2

RGB 254 220 210

HSL 13.64, 0.96%, 0.91%

LAB 90.28, 10.21, 9.24

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 7 / 17 / 0 / 0

HEX #EDD2FE

RGB 237 210 254

HSL 276.82, 0.96%, 0.91%

LAB 87.61, 17.21, -18.03

 

CMYK 0 / 7 / 17 / 0

HEX #FEEDD2

RGB 254 237 210

HSL 36.82, 0.96%, 0.91%

LAB 94.44, 1.49, 15.15

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 17 / 15 / 0 / 0

HEX #D2D9FE

RGB 210 217 254

HSL 230.45, 0.96%, 0.91%

LAB 87.23, 5.01, -18.8

 

CMYK 0 / 17 / 11 / 0

HEX #FED2E2

RGB 254 210 226

HSL 338.18, 0.96%, 0.91%

LAB 88.28, 17.92, -2.08

 

CMYK 0 / 3 / 17 / 0

HEX #FEF6D2

RGB 254 246 210

HSL 49.09, 0.96%, 0.91%

LAB 96.67, -3.06, 18.3

 

CMYK 17 / 0 / 6 / 0

HEX #D2FEEE

RGB 210 254 238

HSL 158.18, 0.96%, 0.91%

LAB 96.31, -17.08, 2.98

 

CMYK 15 / 17 / 0 / 0

HEX #D7D2FE

RGB 215 210 254

HSL 246.82, 0.96%, 0.91%

LAB 85.85, 10.26, -20.85

 

CMYK 0 / 17 / 11 / 0

HEX #FED2E2

RGB 254 210 226

HSL 338.18, 0.96%, 0.91%

LAB 88.28, 17.92, -2.08

 

CMYK 2 / 0 / 17 / 0

HEX #F8FED2

RGB 248 254 210

HSL 68.18, 0.96%, 0.91%

LAB 98.23, -9.17, 20.41

 

Description

Color code: RGB 210 254 238 | qconv.com Color code: RGB 210 254 238 | 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, 210 red, 254 green and 238 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.
210 254 238 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 17 cyan, none magenta, 6 yellow and none 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.
17% 0% 6% 0% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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