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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 212 214 222 it is the complementary color RGB 43 41 33. 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 212 214 222. 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 212 214 222 shade: RGB 217 214 217, RGB 234 232 236 and RGB 251 250 255

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 212 214 222. 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 212 214 222 shade: RGB 212 214 222, RGB 195 196 203, RGB 178 178 184, RGB 161 160 165 and RGB 144 142 146

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 212 214 222 shade: RGB 211 213 221, RGB 212 211 221, RGB 215 211 221, RGB 217 211 221 and RGB 220 211 221

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 212 214 222 shade: RGB 211 213 221 and RGB 211 211 221

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 212 214 222 shade matches the following richer shades: RGB 211 213 221, RGB 205 210 227, RGB 199 206 234, RGB 193 202 240 and RGB 187 198 246

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 212 214 222 shade: RGB 211 213 221, RGB 217 217 215, RGB 224 221 209, RGB 230 224 203 and RGB 236 228 196

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 212 214 222 shade: RGB 211 219 221, RGB 211 216 221, RGB 211 213 221, RGB 212 211 221 and RGB 215 211 221

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 212 214 222 shade: RGB 165 169 185, RGB 188 191 203, RGB 211 213 221 and RGB 235 236 239

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 212 214 222 shade: RGB 212 214 222, RGB 221 211 221 and RGB 217 221 211

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 212 214 222 shade: RGB 212 214 222, RGB 221 211 213 and RGB 213 221 211

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 212 214 222 shade: RGB 212 214 222, RGB 221 211 221, RGB 221 219 211 and RGB 211 221 211

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 212 214 222 shade: RGB 212 214 222, RGB 221 211 218, RGB 221 219 211 and RGB 211 221 214

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 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

Complementary color

CMYK 0 / 5 / 23 / 83

HEX #2B2921

RGB 43 41 33

HSL 48, 0.13%, 0.15%

LAB 16.55, -0.81, 5.58

 

CMYK 0 / 1 / 0 / 15

HEX #D9D6D9

RGB 217 214 217

HSL 300, 0.04%, 0.85%

LAB 85.93, 1.57, -1.12

 

CMYK 1 / 2 / 0 / 7

HEX #EAE8EC

RGB 234 232 236

HSL 270, 0.1%, 0.92%

LAB 92.25, 1.39, -1.71

 

CMYK 2 / 2 / 0 / 0

HEX #FBFAFF

RGB 251 250 255

HSL 252, 1%, 0.99%

LAB 98.47, 1.22, -2.28

 

CMYK 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

CMYK 4 / 3 / 0 / 20

HEX #C3C4CB

RGB 195 196 203

HSL 232.5, 0.07%, 0.78%

LAB 79.27, 0.97, -3.63

 

CMYK 3 / 3 / 0 / 28

HEX #B2B2B8

RGB 178 178 184

HSL 240, 0.04%, 0.71%

LAB 72.74, 1.14, -3.06

 

CMYK 2 / 3 / 0 / 35

HEX #A1A0A5

RGB 161 160 165

HSL 252, 0.03%, 0.64%

LAB 66.09, 1.33, -2.47

 

CMYK 1 / 3 / 0 / 43

HEX #908E92

RGB 144 142 146

HSL 270, 0.02%, 0.56%

LAB 59.3, 1.52, -1.87

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 4 / 5 / 0 / 13

HEX #D4D3DD

RGB 212 211 221

HSL 246, 0.13%, 0.85%

LAB 84.9, 2.19, -4.81

 

CMYK 3 / 5 / 0 / 13

HEX #D7D3DD

RGB 215 211 221

HSL 264, 0.13%, 0.85%

LAB 85.13, 3.2, -4.45

 

CMYK 2 / 5 / 0 / 13

HEX #D9D3DD

RGB 217 211 221

HSL 276, 0.13%, 0.85%

LAB 85.28, 3.87, -4.2

 

CMYK 0 / 5 / 0 / 13

HEX #DCD3DD

RGB 220 211 221

HSL 294, 0.13%, 0.85%

LAB 85.52, 4.88, -3.83

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 5 / 5 / 0 / 13

HEX #D3D3DD

RGB 211 211 221

HSL 240, 0.13%, 0.85%

LAB 84.82, 1.86, -4.93

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 10 / 7 / 0 / 11

HEX #CDD2E3

RGB 205 210 227

HSL 226.36, 0.28%, 0.85%

LAB 84.29, 1.57, -8.96

 

CMYK 15 / 12 / 0 / 8

HEX #C7CEEA

RGB 199 206 234

HSL 228, 0.45%, 0.85%

LAB 83.03, 3.18, -14.6

 

CMYK 20 / 16 / 0 / 6

HEX #C1CAF0

RGB 193 202 240

HSL 228.51, 0.61%, 0.85%

LAB 81.77, 4.73, -19.75

 

CMYK 24 / 20 / 0 / 4

HEX #BBC6F6

RGB 187 198 246

HSL 228.81, 0.77%, 0.85%

LAB 80.52, 6.41, -24.89

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 0 / 0 / 1 / 15

HEX #D9D9D7

RGB 217 217 215

HSL 60, 0.03%, 0.85%

LAB 86.64, -0.35, 0.97

 

CMYK 0 / 1 / 7 / 12

HEX #E0DDD1

RGB 224 221 209

HSL 48, 0.19%, 0.85%

LAB 88.05, -1.06, 6.24

 

CMYK 0 / 3 / 12 / 10

HEX #E6E0CB

RGB 230 224 203

HSL 46.67, 0.35%, 0.85%

LAB 89.13, -1.48, 11

 

CMYK 0 / 3 / 17 / 7

HEX #ECE4C4

RGB 236 228 196

HSL 48, 0.51%, 0.85%

LAB 90.46, -2.46, 16.6

 

CMYK 5 / 1 / 0 / 13

HEX #D3DBDD

RGB 211 219 221

HSL 192, 0.13%, 0.85%

LAB 86.87, -2.31, -1.93

 

CMYK 5 / 2 / 0 / 13

HEX #D3D8DD

RGB 211 216 221

HSL 210, 0.13%, 0.85%

LAB 86.1, -0.76, -3.05

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 4 / 5 / 0 / 13

HEX #D4D3DD

RGB 212 211 221

HSL 246, 0.13%, 0.85%

LAB 84.9, 2.19, -4.81

 

CMYK 3 / 5 / 0 / 13

HEX #D7D3DD

RGB 215 211 221

HSL 264, 0.13%, 0.85%

LAB 85.13, 3.2, -4.45

 

CMYK 11 / 9 / 0 / 27

HEX #A5A9B9

RGB 165 169 185

HSL 228, 0.13%, 0.69%

LAB 69.38, 1.8, -8.69

 

CMYK 7 / 6 / 0 / 20

HEX #BCBFCB

RGB 188 191 203

HSL 228, 0.13%, 0.77%

LAB 77.44, 1.27, -6.38

 

CMYK 5 / 4 / 0 / 13

HEX #D3D5DD

RGB 211 213 221

HSL 228, 0.13%, 0.85%

LAB 85.33, 0.81, -4.18

 

CMYK 2 / 1 / 0 / 6

HEX #EBECEF

RGB 235 236 239

HSL 225, 0.11%, 0.93%

LAB 93.4, 0.21, -1.58

 

CMYK 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

CMYK 0 / 5 / 0 / 13

HEX #DDD3DD

RGB 221 211 221

HSL 300, 0.13%, 0.85%

LAB 85.6, 5.22, -3.7

 

CMYK 2 / 0 / 5 / 13

HEX #D9DDD3

RGB 217 221 211

HSL 84, 0.13%, 0.85%

LAB 87.57, -3.13, 4.42

 

CMYK 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

CMYK 0 / 5 / 4 / 13

HEX #DDD3D5

RGB 221 211 213

HSL 348, 0.13%, 0.85%

LAB 85.39, 3.79, 0.23

 

CMYK 4 / 0 / 5 / 13

HEX #D5DDD3

RGB 213 221 211

HSL 108, 0.13%, 0.85%

LAB 87.27, -4.5, 3.96

 

CMYK 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

CMYK 0 / 5 / 0 / 13

HEX #DDD3DD

RGB 221 211 221

HSL 300, 0.13%, 0.85%

LAB 85.6, 5.22, -3.7

 

CMYK 0 / 1 / 5 / 13

HEX #DDDBD3

RGB 221 219 211

HSL 48, 0.13%, 0.85%

LAB 87.36, -0.72, 4.16

 

CMYK 5 / 0 / 5 / 13

HEX #D3DDD3

RGB 211 221 211

HSL 120, 0.13%, 0.85%

LAB 87.13, -5.18, 3.73

 

CMYK 5 / 4 / 0 / 13

HEX #D4D6DE

RGB 212 214 222

HSL 228, 0.13%, 0.85%

LAB 85.69, 0.81, -4.18

 

CMYK 0 / 5 / 1 / 13

HEX #DDD3DA

RGB 221 211 218

HSL 318, 0.13%, 0.85%

LAB 85.52, 4.68, -2.23

 

CMYK 0 / 1 / 5 / 13

HEX #DDDBD3

RGB 221 219 211

HSL 48, 0.13%, 0.85%

LAB 87.36, -0.72, 4.16

 

CMYK 5 / 0 / 3 / 13

HEX #D3DDD6

RGB 211 221 214

HSL 138, 0.13%, 0.85%

LAB 87.2, -4.64, 2.26

 

Description

Color code: RGB 212 214 222 | qconv.com Color code: RGB 212 214 222 | 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, 212 red, 214 green and 222 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.
212 214 222 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 5 cyan, 4 magenta, none yellow and 13 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.
5% 4% 0% 13% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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