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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 215 10 41 it is the complementary color RGB 40 245 214. 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 215 10 41. 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 215 10 41 shade: RGB 220 10 36, RGB 237 28 55, RGB 254 46 74, RGB 255 64 93 and RGB 255 82 112

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 215 10 41. 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 215 10 41 shade: RGB 215 10 41, RGB 198 0 22, RGB 181 0 3, RGB 164 0 0 and RGB 147 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 215 10 41 shade: RGB 214 10 40 and RGB 214 10 10

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 215 10 41 shade: RGB 214 10 40, RGB 214 10 96, RGB 214 10 151, RGB 214 10 206 and RGB 167 10 214

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 215 10 41 shade matches the following richer shades: RGB 214 10 40

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 215 10 41 shade: RGB 214 10 40, RGB 196 28 53, RGB 177 46 66, RGB 159 64 78 and RGB 141 82 91

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 215 10 41 shade: RGB 214 10 153, RGB 214 10 98, RGB 214 10 44, RGB 214 30 10 and RGB 214 84 10

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 215 10 41 shade: RGB 135 6 25, RGB 174 8 33, RGB 214 10 40, RGB 244 21 55 and RGB 245 61 88

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 215 10 41 shade: RGB 215 10 41, RGB 207 214 10 and RGB 10 125 214

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 215 10 41 shade: RGB 215 10 41, RGB 44 214 10 and RGB 10 44 214

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 215 10 41 shade: RGB 215 10 41, RGB 207 214 10, RGB 10 214 180 and RGB 16 10 214

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 215 10 41 shade: RGB 215 10 41, RGB 146 214 10, RGB 10 214 180 and RGB 78 10 214

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 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

Complementary color

CMYK 84 / 0 / 13 / 4

HEX #28F5D6

RGB 40 245 214

HSL 170.93, 0.91%, 0.56%

LAB 87.3, -53.63, 1.59

 

CMYK 0 / 95 / 84 / 14

HEX #DC0A24

RGB 220 10 36

HSL 352.57, 0.91%, 0.45%

LAB 46.39, 71.28, 46.54

 

CMYK 0 / 88 / 77 / 7

HEX #ED1C37

RGB 237 28 55

HSL 352.25, 0.85%, 0.52%

LAB 50.82, 73.86, 41.7

 

CMYK 0 / 82 / 71 / 0

HEX #FE2E4A

RGB 254 46 74

HSL 351.92, 0.99%, 0.59%

LAB 55.6, 75.46, 37.16

 

CMYK 0 / 75 / 64 / 0

HEX #FF405D

RGB 255 64 93

HSL 350.89, 1%, 0.63%

LAB 57.77, 71.88, 28.84

 

CMYK 0 / 68 / 56 / 0

HEX #FF5270

RGB 255 82 112

HSL 349.6, 1%, 0.66%

LAB 60.31, 66.99, 21.12

 

CMYK 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

CMYK 0 / 100 / 89 / 22

HEX #C60016

RGB 198 0 22

HSL 353.33, 1%, 0.39%

LAB 41.32, 66.47, 47.38

 

CMYK 0 / 100 / 98 / 29

HEX #B50003

RGB 181 0 3

HSL 359.01, 1%, 0.35%

LAB 37.54, 61.97, 50.72

 

CMYK 0 / 100 / 100 / 36

HEX #A40000

RGB 164 0 0

HSL 0, 1%, 0.32%

LAB 33.76, 57.57, 47.96

 

CMYK 0 / 100 / 100 / 42

HEX #930000

RGB 147 0 0

HSL 0, 1%, 0.29%

LAB 29.92, 53.13, 43.53

 

CMYK 0 / 95 / 81 / 16

HEX #D60A28

RGB 214 10 40

HSL 351.18, 0.91%, 0.44%

LAB 45.17, 69.89, 42.8

 

CMYK 0 / 95 / 95 / 16

HEX #D60A0A

RGB 214 10 10

HSL 0, 0.91%, 0.44%

LAB 44.99, 69.38, 55.94

 

CMYK 0 / 95 / 81 / 16

HEX #D60A28

RGB 214 10 40

HSL 351.18, 0.91%, 0.44%

LAB 45.17, 69.89, 42.8

 

CMYK 0 / 95 / 55 / 16

HEX #D60A60

RGB 214 10 96

HSL 334.71, 0.91%, 0.44%

LAB 46.12, 72.49, 10.03

 

CMYK 0 / 95 / 29 / 16

HEX #D60A97

RGB 214 10 151

HSL 318.53, 0.91%, 0.44%

LAB 47.94, 77.32, -20.97

 

CMYK 0 / 95 / 4 / 16

HEX #D60ACE

RGB 214 10 206

HSL 302.35, 0.91%, 0.44%

LAB 50.65, 84.19, -49.05

 

CMYK 22 / 95 / 0 / 16

HEX #A70AD6

RGB 167 10 214

HSL 286.18, 0.91%, 0.44%

LAB 43.19, 78.27, -66.08

 

CMYK 0 / 95 / 81 / 16

HEX #D60A28

RGB 214 10 40

HSL 351.18, 0.91%, 0.44%

LAB 45.17, 69.89, 42.8

 

CMYK 0 / 95 / 81 / 16

HEX #D60A28

RGB 214 10 40

HSL 351.18, 0.91%, 0.44%

LAB 45.17, 69.89, 42.8

 

CMYK 0 / 86 / 73 / 23

HEX #C41C35

RGB 196 28 53

HSL 351.07, 0.75%, 0.44%

LAB 42.5, 63.11, 31.26

 

CMYK 0 / 74 / 63 / 31

HEX #B12E42

RGB 177 46 66

HSL 350.84, 0.59%, 0.44%

LAB 40.73, 53.34, 20.23

 

CMYK 0 / 60 / 51 / 38

HEX #9F404E

RGB 159 64 78

HSL 351.16, 0.43%, 0.44%

LAB 40.55, 40.72, 11.96

 

CMYK 0 / 42 / 35 / 45

HEX #8D525B

RGB 141 82 91

HSL 350.85, 0.26%, 0.44%

LAB 41.93, 25.76, 5.43

 

CMYK 0 / 95 / 29 / 16

HEX #D60A99

RGB 214 10 153

HSL 317.94, 0.91%, 0.44%

LAB 48.02, 77.54, -22.05

 

CMYK 0 / 95 / 54 / 16

HEX #D60A62

RGB 214 10 98

HSL 334.12, 0.91%, 0.44%

LAB 46.17, 72.62, 8.85

 

CMYK 0 / 95 / 79 / 16

HEX #D60A2C

RGB 214 10 44

HSL 350, 0.91%, 0.44%

LAB 45.21, 70, 40.6

 

CMYK 0 / 86 / 95 / 16

HEX #D61E0A

RGB 214 30 10

HSL 5.88, 0.91%, 0.44%

LAB 45.97, 66.57, 56.46

 

CMYK 0 / 61 / 95 / 16

HEX #D6540A

RGB 214 84 10

HSL 21.76, 0.91%, 0.44%

LAB 52.57, 48.44, 60.32

 

CMYK 0 / 96 / 81 / 47

HEX #870619

RGB 135 6 25

HSL 351.16, 0.91%, 0.28%

LAB 27.71, 49.44, 28.36

 

CMYK 0 / 95 / 81 / 32

HEX #AE0821

RGB 174 8 33

HSL 350.96, 0.91%, 0.36%

LAB 36.52, 59.77, 35.34

 

CMYK 0 / 95 / 81 / 16

HEX #D60A28

RGB 214 10 40

HSL 351.18, 0.91%, 0.44%

LAB 45.17, 69.89, 42.8

 

CMYK 0 / 91 / 77 / 4

HEX #F41537

RGB 244 21 55

HSL 350.85, 0.91%, 0.52%

LAB 51.89, 76.58, 43.27

 

CMYK 0 / 75 / 64 / 4

HEX #F53D58

RGB 245 61 88

HSL 351.2, 0.9%, 0.6%

LAB 55.54, 69.71, 28.54

 

CMYK 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

CMYK 3 / 0 / 95 / 16

HEX #CFD60A

RGB 207 214 10

HSL 62.06, 0.91%, 0.44%

LAB 82.58, -21.75, 81.24

 

CMYK 95 / 42 / 0 / 16

HEX #0A7DD6

RGB 10 125 214

HSL 206.18, 0.91%, 0.44%

LAB 51.37, 5.01, -53.42

 

CMYK 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

CMYK 79 / 0 / 95 / 16

HEX #2CD60A

RGB 44 214 10

HSL 110, 0.91%, 0.44%

LAB 75.23, -72.29, 72.32

 

CMYK 95 / 79 / 0 / 16

HEX #0A2CD6

RGB 10 44 214

HSL 230, 0.91%, 0.44%

LAB 31.16, 55.4, -86.41

 

CMYK 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

CMYK 3 / 0 / 95 / 16

HEX #CFD60A

RGB 207 214 10

HSL 62.06, 0.91%, 0.44%

LAB 82.58, -21.75, 81.24

 

CMYK 95 / 0 / 16 / 16

HEX #0AD6B4

RGB 10 214 180

HSL 170, 0.91%, 0.44%

LAB 76.95, -51.34, 4.53

 

CMYK 93 / 95 / 0 / 16

HEX #100AD6

RGB 16 10 214

HSL 241.76, 0.91%, 0.44%

LAB 27.25, 67.58, -92.94

 

CMYK 0 / 95 / 81 / 16

HEX #D70A29

RGB 215 10 41

HSL 350.93, 0.91%, 0.44%

LAB 45.39, 70.17, 42.53

 

CMYK 32 / 0 / 95 / 16

HEX #92D60A

RGB 146 214 10

HSL 80, 0.91%, 0.44%

LAB 78.59, -46.12, 76.43

 

CMYK 95 / 0 / 16 / 16

HEX #0AD6B4

RGB 10 214 180

HSL 170, 0.91%, 0.44%

LAB 76.95, -51.34, 4.53

 

CMYK 64 / 95 / 0 / 16

HEX #4E0AD6

RGB 78 10 214

HSL 260, 0.91%, 0.44%

LAB 31.09, 69.52, -86.42

 

Description

Color code: RGB 215 10 41 | qconv.com Color code: RGB 215 10 41 | 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, 215 red, 10 green and 41 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.
215 10 41 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, 95 magenta, 81 yellow and 16 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% 95% 81% 16% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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