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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 250 151 79 it is the complementary color RGB 5 104 176. 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 250 151 79. 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 250 151 79 shade: RGB 255 151 74, RGB 255 169 93, RGB 255 187 112, RGB 255 205 131 and RGB 255 223 150

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 250 151 79. 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 250 151 79 shade: RGB 250 151 79, RGB 233 133 60, RGB 216 115 41, RGB 199 97 22 and RGB 182 79 3

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 250 151 79 shade: RGB 249 152 81, RGB 249 107 81 and RGB 249 81 81

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 250 151 79 shade: RGB 249 152 81, RGB 249 197 81, RGB 249 242 81, RGB 211 249 81 and RGB 165 249 81

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 250 151 79 shade matches the following richer shades: RGB 249 152 81

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 250 151 79 shade: RGB 249 152 81, RGB 235 154 96, RGB 220 157 110, RGB 206 159 125 and RGB 191 161 139

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 250 151 79 shade: RGB 249 81 101, RGB 249 107 81, RGB 249 151 81, RGB 249 196 81 and RGB 249 241 81

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 250 151 79 shade: RGB 241 106 7, RGB 248 128 41, RGB 249 152 81, RGB 250 176 121 and RGB 252 199 161

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 250 151 79 shade: RGB 250 151 79, RGB 146 249 81 and RGB 84 81 249

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 250 151 79 shade: RGB 250 151 79, RGB 81 249 151 and RGB 151 81 249

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 250 151 79 shade: RGB 250 151 79, RGB 146 249 81, RGB 81 179 249 and RGB 185 81 249

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 250 151 79 shade: RGB 250 151 79, RGB 95 249 81, RGB 81 179 249 and RGB 235 81 249

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 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

Complementary color

CMYK 97 / 41 / 0 / 31

HEX #0568B0

RGB 5 104 176

HSL 205.26, 0.94%, 0.35%

LAB 42.86, 2.89, -45.15

 

CMYK 0 / 41 / 71 / 0

HEX #FF974A

RGB 255 151 74

HSL 25.52, 1%, 0.65%

LAB 72.15, 32.97, 55.76

 

CMYK 0 / 34 / 64 / 0

HEX #FFA95D

RGB 255 169 93

HSL 28.15, 1%, 0.68%

LAB 76.33, 24.67, 51.36

 

CMYK 0 / 27 / 56 / 0

HEX #FFBB70

RGB 255 187 112

HSL 31.47, 1%, 0.72%

LAB 80.72, 16.57, 47.21

 

CMYK 0 / 20 / 49 / 0

HEX #FFCD83

RGB 255 205 131

HSL 35.81, 1%, 0.76%

LAB 85.28, 8.8, 43.36

 

CMYK 0 / 13 / 41 / 0

HEX #FFDF96

RGB 255 223 150

HSL 41.71, 1%, 0.79%

LAB 89.97, 1.41, 39.81

 

CMYK 0 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

CMYK 0 / 43 / 74 / 9

HEX #E9853C

RGB 233 133 60

HSL 25.32, 0.8%, 0.57%

LAB 65.3, 32.84, 54.15

 

CMYK 0 / 47 / 81 / 15

HEX #D87329

RGB 216 115 41

HSL 25.37, 0.69%, 0.5%

LAB 58.99, 34.62, 55.47

 

CMYK 0 / 51 / 89 / 22

HEX #C76116

RGB 199 97 22

HSL 25.42, 0.8%, 0.43%

LAB 52.67, 36.58, 56.11

 

CMYK 0 / 57 / 98 / 29

HEX #B64F03

RGB 182 79 3

HSL 25.47, 0.97%, 0.36%

LAB 46.37, 38.64, 55.47

 

CMYK 0 / 39 / 67 / 2

HEX #F99851

RGB 249 152 81

HSL 25.36, 0.93%, 0.65%

LAB 71.68, 30.41, 51.72

 

CMYK 0 / 57 / 67 / 2

HEX #F96B51

RGB 249 107 81

HSL 9.29, 0.93%, 0.65%

LAB 62.72, 52.72, 41.45

 

CMYK 0 / 67 / 67 / 2

HEX #F95151

RGB 249 81 81

HSL 0, 0.93%, 0.65%

LAB 58.62, 63.67, 36.56

 

CMYK 0 / 39 / 67 / 2

HEX #F99851

RGB 249 152 81

HSL 25.36, 0.93%, 0.65%

LAB 71.68, 30.41, 51.72

 

CMYK 0 / 21 / 67 / 2

HEX #F9C551

RGB 249 197 81

HSL 41.43, 0.93%, 0.65%

LAB 82.2, 6.88, 63.1

 

CMYK 0 / 3 / 67 / 2

HEX #F9F251

RGB 249 242 81

HSL 57.5, 0.93%, 0.65%

LAB 93.55, -15.78, 74.76

 

CMYK 15 / 0 / 67 / 2

HEX #D3F951

RGB 211 249 81

HSL 73.57, 0.93%, 0.65%

LAB 92.66, -34.21, 72.96

 

CMYK 34 / 0 / 67 / 2

HEX #A5F951

RGB 165 249 81

HSL 90, 0.93%, 0.65%

LAB 90.02, -51, 69.41

 

CMYK 0 / 39 / 67 / 2

HEX #F99851

RGB 249 152 81

HSL 25.36, 0.93%, 0.65%

LAB 71.68, 30.41, 51.72

 

CMYK 0 / 39 / 67 / 2

HEX #F99851

RGB 249 152 81

HSL 25.36, 0.93%, 0.65%

LAB 71.68, 30.41, 51.72

 

CMYK 0 / 34 / 59 / 8

HEX #EB9A60

RGB 235 154 96

HSL 25.04, 0.78%, 0.65%

LAB 70.61, 24.67, 42.54

 

CMYK 0 / 29 / 50 / 14

HEX #DC9D6E

RGB 220 157 110

HSL 25.64, 0.61%, 0.65%

LAB 69.79, 18.12, 33.81

 

CMYK 0 / 23 / 39 / 19

HEX #CE9F7D

RGB 206 159 125

HSL 25.19, 0.45%, 0.65%

LAB 69.04, 12.94, 24.45

 

CMYK 0 / 16 / 27 / 25

HEX #BFA18B

RGB 191 161 139

HSL 25.38, 0.29%, 0.65%

LAB 68.34, 7.68, 15.56

 

CMYK 0 / 67 / 59 / 2

HEX #F95165

RGB 249 81 101

HSL 352.86, 0.93%, 0.65%

LAB 58.94, 64.81, 25.51

 

CMYK 0 / 57 / 67 / 2

HEX #F96B51

RGB 249 107 81

HSL 9.29, 0.93%, 0.65%

LAB 62.72, 52.72, 41.45

 

CMYK 0 / 39 / 67 / 2

HEX #F99751

RGB 249 151 81

HSL 25, 0.93%, 0.65%

LAB 71.46, 30.93, 51.47

 

CMYK 0 / 21 / 67 / 2

HEX #F9C451

RGB 249 196 81

HSL 41.07, 0.93%, 0.65%

LAB 81.95, 7.4, 62.84

 

CMYK 0 / 3 / 67 / 2

HEX #F9F151

RGB 249 241 81

HSL 57.14, 0.93%, 0.65%

LAB 93.3, -15.29, 74.5

 

CMYK 0 / 56 / 97 / 5

HEX #F16A07

RGB 241 106 7

HSL 25.38, 0.94%, 0.49%

LAB 60.8, 48.18, 68.12

 

CMYK 0 / 48 / 83 / 3

HEX #F88029

RGB 248 128 41

HSL 25.22, 0.94%, 0.57%

LAB 66.18, 40.7, 63.55

 

CMYK 0 / 39 / 67 / 2

HEX #F99851

RGB 249 152 81

HSL 25.36, 0.93%, 0.65%

LAB 71.68, 30.41, 51.72

 

CMYK 0 / 30 / 52 / 2

HEX #FAB079

RGB 250 176 121

HSL 25.58, 0.93%, 0.73%

LAB 77.73, 21.06, 38.82

 

CMYK 0 / 21 / 36 / 1

HEX #FCC7A1

RGB 252 199 161

HSL 25.05, 0.94%, 0.81%

LAB 84.03, 13.85, 26.22

 

CMYK 0 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

CMYK 41 / 0 / 67 / 2

HEX #92F951

RGB 146 249 81

HSL 96.79, 0.93%, 0.65%

LAB 89.14, -57.19, 68.22

 

CMYK 66 / 67 / 0 / 2

HEX #5451F9

RGB 84 81 249

HSL 241.07, 0.93%, 0.65%

LAB 45.09, 51.36, -83.19

 

CMYK 0 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

CMYK 67 / 0 / 39 / 2

HEX #51F997

RGB 81 249 151

HSL 145, 0.93%, 0.65%

LAB 87.84, -64.19, 34.77

 

CMYK 39 / 67 / 0 / 2

HEX #9751F9

RGB 151 81 249

HSL 265, 0.93%, 0.65%

LAB 51.04, 61.76, -73.23

 

CMYK 0 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

CMYK 41 / 0 / 67 / 2

HEX #92F951

RGB 146 249 81

HSL 96.79, 0.93%, 0.65%

LAB 89.14, -57.19, 68.22

 

CMYK 67 / 28 / 0 / 2

HEX #51B3F9

RGB 81 179 249

HSL 205, 0.93%, 0.65%

LAB 70.06, -7.13, -43.12

 

CMYK 26 / 67 / 0 / 2

HEX #B951F9

RGB 185 81 249

HSL 277.14, 0.93%, 0.65%

LAB 55.11, 68.33, -66.44

 

CMYK 0 / 40 / 68 / 2

HEX #FA974F

RGB 250 151 79

HSL 25.26, 0.94%, 0.65%

LAB 71.57, 31.23, 52.59

 

CMYK 62 / 0 / 67 / 2

HEX #5FF951

RGB 95 249 81

HSL 115, 0.93%, 0.65%

LAB 87.38, -70.65, 65.82

 

CMYK 67 / 28 / 0 / 2

HEX #51B3F9

RGB 81 179 249

HSL 205, 0.93%, 0.65%

LAB 70.06, -7.13, -43.12

 

CMYK 6 / 67 / 0 / 2

HEX #EB51F9

RGB 235 81 249

HSL 295, 0.93%, 0.65%

LAB 61.99, 78.74, -55.05

 

Description

Color code: RGB 250 151 79 | qconv.com Color code: RGB 250 151 79 | 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, 250 red, 151 green and 79 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.
250 151 79 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, 40 magenta, 68 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% 40% 68% 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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