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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 249 115 143 it is the complementary color RGB 6 140 112. 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 249 115 143. 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 249 115 143 shade: RGB 254 115 138, RGB 255 133 157, RGB 255 151 176, RGB 255 169 195 and RGB 255 187 214

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 249 115 143. 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 249 115 143 shade: RGB 249 115 143, RGB 232 97 124, RGB 215 79 105, RGB 198 61 86 and RGB 181 43 67

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 249 115 143 shade: RGB 249 113 141 and RGB 249 113 113

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 249 115 143 shade: RGB 249 113 141, RGB 249 113 178, RGB 249 113 214, RGB 246 113 249 and RGB 209 113 249

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 249 115 143 shade matches the following richer shades: RGB 249 113 141

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 249 115 143 shade: RGB 249 113 141, RGB 237 124 148, RGB 225 136 155, RGB 213 148 162 and RGB 201 160 169

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 249 115 143 shade: RGB 249 113 215, RGB 249 113 178, RGB 249 113 142, RGB 249 119 113 and RGB 249 156 113

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 249 115 143 shade: RGB 245 33 78, RGB 247 73 109, RGB 249 113 141, RGB 250 152 173 and RGB 252 192 204

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 249 115 143 shade: RGB 249 115 143, RGB 249 246 113 and RGB 113 196 249

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 249 115 143 shade: RGB 249 115 143, RGB 142 249 113 and RGB 113 142 249

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 249 115 143 shade: RGB 249 115 143, RGB 249 246 113, RGB 113 249 219 and RGB 113 115 249

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 249 115 143 shade: RGB 249 115 143, RGB 210 249 113, RGB 113 249 219 and RGB 151 113 249

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 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

Complementary color

CMYK 96 / 0 / 20 / 45

HEX #068C70

RGB 6 140 112

HSL 167.46, 0.92%, 0.29%

LAB 51.8, -38.79, 6.06

 

CMYK 0 / 55 / 46 / 0

HEX #FE738A

RGB 254 115 138

HSL 350.07, 0.99%, 0.72%

LAB 65.88, 54.94, 13.82

 

CMYK 0 / 48 / 38 / 0

HEX #FF859D

RGB 255 133 157

HSL 348.2, 1%, 0.76%

LAB 69.8, 48.61, 8.66

 

CMYK 0 / 41 / 31 / 0

HEX #FF97B0

RGB 255 151 176

HSL 345.58, 1%, 0.8%

LAB 73.89, 41.82, 3.95

 

CMYK 0 / 34 / 24 / 0

HEX #FFA9C3

RGB 255 169 195

HSL 341.86, 1%, 0.83%

LAB 78.21, 35.05, -0.18

 

CMYK 0 / 27 / 16 / 0

HEX #FFBBD6

RGB 255 187 214

HSL 336.18, 1%, 0.87%

LAB 82.73, 28.43, -3.83

 

CMYK 0 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

CMYK 0 / 58 / 47 / 9

HEX #E8617C

RGB 232 97 124

HSL 348, 0.75%, 0.65%

LAB 59.12, 54.57, 11.91

 

CMYK 0 / 63 / 51 / 16

HEX #D74F69

RGB 215 79 105

HSL 348.53, 0.63%, 0.58%

LAB 53.01, 55.26, 14.18

 

CMYK 0 / 69 / 57 / 22

HEX #C63D56

RGB 198 61 86

HSL 349.05, 0.55%, 0.51%

LAB 46.99, 55.68, 16.92

 

CMYK 0 / 76 / 63 / 29

HEX #B52B43

RGB 181 43 67

HSL 349.57, 0.62%, 0.44%

LAB 41.15, 55.63, 20.31

 

CMYK 0 / 55 / 43 / 2

HEX #F9718D

RGB 249 113 141

HSL 347.65, 0.92%, 0.71%

LAB 64.86, 54.49, 10.57

 

CMYK 0 / 55 / 55 / 2

HEX #F97171

RGB 249 113 113

HSL 0, 0.92%, 0.71%

LAB 64.28, 52.02, 25.69

 

CMYK 0 / 55 / 43 / 2

HEX #F9718D

RGB 249 113 141

HSL 347.65, 0.92%, 0.71%

LAB 64.86, 54.49, 10.57

 

CMYK 0 / 55 / 29 / 2

HEX #F971B2

RGB 249 113 178

HSL 331.32, 0.92%, 0.71%

LAB 65.88, 58.65, -9.03

 

CMYK 0 / 55 / 14 / 2

HEX #F971D6

RGB 249 113 214

HSL 315.44, 0.92%, 0.71%

LAB 67.13, 63.6, -27.38

 

CMYK 1 / 55 / 0 / 2

HEX #F671F9

RGB 246 113 249

HSL 298.68, 0.92%, 0.71%

LAB 68.2, 68.38, -45.12

 

CMYK 16 / 55 / 0 / 2

HEX #D171F9

RGB 209 113 249

HSL 282.35, 0.92%, 0.71%

LAB 63.51, 59.01, -52.83

 

CMYK 0 / 55 / 43 / 2

HEX #F9718D

RGB 249 113 141

HSL 347.65, 0.92%, 0.71%

LAB 64.86, 54.49, 10.57

 

CMYK 0 / 55 / 43 / 2

HEX #F9718D

RGB 249 113 141

HSL 347.65, 0.92%, 0.71%

LAB 64.86, 54.49, 10.57

 

CMYK 0 / 48 / 38 / 7

HEX #ED7C94

RGB 237 124 148

HSL 347.26, 0.76%, 0.71%

LAB 65.4, 45.85, 7.12

 

CMYK 0 / 40 / 31 / 12

HEX #E1889B

RGB 225 136 155

HSL 347.19, 0.6%, 0.71%

LAB 66.51, 36.28, 4.54

 

CMYK 0 / 31 / 24 / 16

HEX #D594A2

RGB 213 148 162

HSL 347.08, 0.44%, 0.71%

LAB 67.97, 26.45, 2.55

 

CMYK 0 / 20 / 16 / 21

HEX #C9A0A9

RGB 201 160 169

HSL 346.83, 0.28%, 0.71%

LAB 69.77, 16.56, 1.11

 

CMYK 0 / 55 / 14 / 2

HEX #F971D7

RGB 249 113 215

HSL 315, 0.92%, 0.71%

LAB 67.17, 63.74, -27.88

 

CMYK 0 / 55 / 29 / 2

HEX #F971B2

RGB 249 113 178

HSL 331.32, 0.92%, 0.71%

LAB 65.88, 58.65, -9.03

 

CMYK 0 / 55 / 43 / 2

HEX #F9718E

RGB 249 113 142

HSL 347.21, 0.92%, 0.71%

LAB 64.89, 54.59, 10.03

 

CMYK 0 / 52 / 55 / 2

HEX #F97771

RGB 249 119 113

HSL 2.65, 0.92%, 0.71%

LAB 65.38, 49.18, 27.14

 

CMYK 0 / 37 / 55 / 2

HEX #F99C71

RGB 249 156 113

HSL 18.97, 0.92%, 0.71%

LAB 72.96, 30.49, 36.95

 

CMYK 0 / 87 / 68 / 4

HEX #F5214E

RGB 245 33 78

HSL 347.26, 0.91%, 0.55%

LAB 53, 75.93, 31.26

 

CMYK 0 / 70 / 56 / 3

HEX #F7496D

RGB 247 73 109

HSL 347.59, 0.92%, 0.63%

LAB 57.7, 67.66, 19.11

 

CMYK 0 / 55 / 43 / 2

HEX #F9718D

RGB 249 113 141

HSL 347.65, 0.92%, 0.71%

LAB 64.86, 54.49, 10.57

 

CMYK 0 / 39 / 31 / 2

HEX #FA98AD

RGB 250 152 173

HSL 347.14, 0.91%, 0.79%

LAB 73.41, 39.17, 4.85

 

CMYK 0 / 24 / 19 / 1

HEX #FCC0CC

RGB 252 192 204

HSL 348, 0.91%, 0.87%

LAB 83.31, 23.23, 2.35

 

CMYK 0 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

CMYK 0 / 1 / 55 / 2

HEX #F9F671

RGB 249 246 113

HSL 58.68, 0.92%, 0.71%

LAB 94.84, -15.72, 63.16

 

CMYK 55 / 21 / 0 / 2

HEX #71C4F9

RGB 113 196 249

HSL 203.38, 0.92%, 0.71%

LAB 75.96, -10.64, -33.84

 

CMYK 0 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

CMYK 43 / 0 / 55 / 2

HEX #8EF971

RGB 142 249 113

HSL 107.21, 0.92%, 0.71%

LAB 89.25, -55.46, 55.03

 

CMYK 55 / 43 / 0 / 2

HEX #718EF9

RGB 113 142 249

HSL 227.21, 0.92%, 0.71%

LAB 61.39, 19.89, -56.72

 

CMYK 0 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

CMYK 0 / 1 / 55 / 2

HEX #F9F671

RGB 249 246 113

HSL 58.68, 0.92%, 0.71%

LAB 94.84, -15.72, 63.16

 

CMYK 55 / 0 / 12 / 2

HEX #71F9DB

RGB 113 249 219

HSL 166.76, 0.92%, 0.71%

LAB 90.03, -44.28, 3.15

 

CMYK 55 / 54 / 0 / 2

HEX #7173F9

RGB 113 115 249

HSL 239.12, 0.92%, 0.71%

LAB 54.67, 35.97, -67.51

 

CMYK 0 / 54 / 43 / 2

HEX #F9738F

RGB 249 115 143

HSL 347.46, 0.92%, 0.71%

LAB 65.27, 53.76, 10

 

CMYK 16 / 0 / 55 / 2

HEX #D2F971

RGB 210 249 113

HSL 77.21, 0.92%, 0.71%

LAB 92.86, -32.27, 60.16

 

CMYK 55 / 0 / 12 / 2

HEX #71F9DB

RGB 113 249 219

HSL 166.76, 0.92%, 0.71%

LAB 90.03, -44.28, 3.15

 

CMYK 39 / 55 / 0 / 2

HEX #9771F9

RGB 151 113 249

HSL 256.76, 0.92%, 0.71%

LAB 57.3, 45.04, -63.12

 

Description

Color code: RGB 249 115 143 | qconv.com Color code: RGB 249 115 143 | 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, 249 red, 115 green and 143 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.
249 115 143 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, 54 magenta, 43 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.
0% 54% 43% 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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