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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 Behr - 150F-4 Victorian Mauve it is the complementary color Behr - 520F-6 Cathedral. 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 Behr - 150F-4 Victorian Mauve. 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 color tone Behr - 150F-4 Victorian Mauve: Behr - 170F-5 Brick Dust, Behr - 170F-4 Fondue, Behr - 160C-3 Rose Silk, Behr - M160-2 Taffy Twist and Behr - 150A-2 Rose Sorbet

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 Behr - 150F-4 Victorian Mauve. 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 color tone Behr - 150F-4 Victorian Mauve: Behr - 150F-4 Victorian Mauve, Behr - S130-5 Heirloom Rose, Behr - ECC-34-3 Terra Cotta Sun, Behr - 160F-6 Boston Brick and Behr - ECC-27-1 Red Pines

Among other things, you can use them to modify buttons with mouse-over effects (called :hover in CSS) or generate other color gradations.

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.

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.

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.

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 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.

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.

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 / 24 / 25 / 29

HEX #B68B88

RGB 182 139 136

HSL 3.91, 0.24%, 0.62%

LAB 61.82, 15.89, 7.93

Behr
150F-4 Victorian Mauve

Complementary color

CMYK 41 / 8 / 0 / 53

HEX #466E77

RGB 70 110 119

HSL 191.02, 0.26%, 0.37%

LAB 43.92, -11.49, -9.44

Behr
520F-6 Cathedral

CMYK 0 / 23 / 28 / 28

HEX #B88E85

RGB 184 142 133 1

HSL 10.59, 0.26%, 0.62%

LAB 62.7, 14.57, 10.91

Behr
170F-5 Brick Dust

CMYK 0 / 21 / 25 / 21

HEX #C99F97

RGB 201 159 151 1

HSL 9.6, 0.32%, 0.69%

LAB 69.07, 14.35, 10.1

Behr
170F-4 Fondue

CMYK 0 / 24 / 27 / 9

HEX #E7AFA8

RGB 231 175 168 1

HSL 6.67, 0.57%, 0.78%

LAB 76.36, 19.44, 11.52

Behr
160C-3 Rose Silk

CMYK 0 / 19 / 21 / 5

HEX #F1C3BE

RGB 241 195 190 1

HSL 5.88, 0.65%, 0.85%

LAB 82.62, 15.62, 8.71

Behr
M160-2 Taffy Twist

CMYK 0 / 16 / 18 / 2

HEX #FBD3CD

RGB 251 211 205 1

HSL 7.83, 0.85%, 0.89%

LAB 87.73, 13.06, 8.18

Behr
150A-2 Rose Sorbet

CMYK 0 / 30 / 28 / 35

HEX #A67577

RGB 166 117 119 1

HSL 357.55, 0.22%, 0.55%

LAB 54.2, 19.55, 6.61

Behr
S130-5 Heirloom Rose

CMYK 0 / 38 / 42 / 47

HEX #87544E

RGB 135 84 78 1

HSL 6.32, 0.27%, 0.42%

LAB 41.28, 20.49, 12.4

Behr
160F-6 Boston Brick

CMYK 0 / 42 / 45 / 55

HEX #72423F

RGB 114 66 63 1

HSL 3.53, 0.29%, 0.35%

LAB 33.63, 20.41, 10.76

Behr
ECC-27-1 Red Pines

CMYK 0 / 22 / 26 / 28

HEX #B88F88

RGB 184 143 136 1

HSL 8.75, 0.25%, 0.63%

LAB 63.02, 14.44, 9.67

Behr
160F-4 Ponder

CMYK 0 / 16 / 28 / 28

HEX #B79983

RGB 183 153 131 1

HSL 25.38, 0.27%, 0.62%

LAB 65.35, 7.8, 15.73

Behr
250F-4 Stone Brown

CMYK 0 / 13 / 28 / 28

HEX #B7A083

RGB 183 160 131 1

HSL 33.46, 0.27%, 0.62%

LAB 67.16, 3.96, 18.24

Behr
HDC-AC-12 Craft Brown

CMYK 0 / 21 / 24 / 11

HEX #E4B5AD

RGB 228 181 173 1

HSL 8.73, 0.5%, 0.79%

LAB 77.61, 15.81, 10.55

Behr
HDC-SP16-09 Dahlia

CMYK 2 / 0 / 2 / 76

HEX #3B3C3B

RGB 59 60 59 1

HSL 120, 0.01%, 0.23%

LAB 25.19, -0.65, 0.46

Behr
MQ5-05 Limousine Leather

CMYK 0 / 23 / 24 / 48

HEX #856765

RGB 133 103 101 1

HSL 3.75, 0.14%, 0.46%

LAB 46.48, 11.69, 5.74

Behr
130F-6 Brazil Nut

CMYK 3 / 0 / 26 / 28

HEX #B1B787

RGB 177 183 135 1

HSL 67.5, 0.25%, 0.62%

LAB 72.87, -10.12, 23.77

Behr
PPU10-07 Lima Green

CMYK 26 / 15 / 0 / 31

HEX #8397B1

RGB 131 151 177 1

HSL 213.91, 0.23%, 0.6%

LAB 61.77, -1.09, -15.9

Behr
S530-4 Jet Set

CMYK 29 / 0 / 24 / 29

HEX #7FB489

RGB 127 180 137 1

HSL 131.32, 0.26%, 0.6%

LAB 68.72, -26.31, 16.47

Behr
460D-5 Tree Fern

CMYK 28 / 26 / 0 / 26

HEX #888BBC

RGB 136 139 188 1

HSL 236.54, 0.28%, 0.64%

LAB 59.28, 10.04, -25.89

Behr
620B-5 Pristine Petal

CMYK 3 / 0 / 26 / 28

HEX #B1B787

RGB 177 183 135 1

HSL 67.5, 0.25%, 0.62%

LAB 72.87, -10.12, 23.77

Behr
PPU10-07 Lima Green

CMYK 25 / 4 / 0 / 30

HEX #86ABB3

RGB 134 171 179 1

HSL 190.67, 0.23%, 0.61%

LAB 67.61, -10.65, -8.23

Behr
S450-4 Crashing Waves

CMYK 23 / 26 / 0 / 27

HEX #908ABA

RGB 144 138 186 1

HSL 247.5, 0.26%, 0.64%

LAB 59.57, 12.61, -24.25

Behr
630B-6 Butterfly Garden

CMYK 16 / 0 / 20 / 28

HEX #99B792

RGB 153 183 146 1

HSL 108.65, 0.2%, 0.65%

LAB 71.36, -17.29, 15.5

Behr
M400-4 Brookview

CMYK 25 / 4 / 0 / 30

HEX #86ABB3

RGB 134 171 179 1

HSL 190.67, 0.23%, 0.61%

LAB 67.61, -10.65, -8.23

Behr
S450-4 Crashing Waves

CMYK 9 / 26 / 0 / 30

HEX #A385B3

RGB 163 133 179 1

HSL 279.13, 0.23%, 0.61%

LAB 59.72, 20.09, -19.89

Behr
660B-6 Daylight Lilac

Description

Color code: Behr - 150F-4 Victorian Mauve | qconv.com Color code: Behr - 150F-4 Victorian Mauve | 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, 182 red, 139 green and 136 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.
182 139 136 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, 24 magenta, 25 yellow and 29 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% 24% 25% 29% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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