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Complementary color
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 - M480-4 Below Zero it is the complementary color Behr - ECC-46-3 Red Hawk. 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.
Lighter colors
Exposures are based on the same hue and represent lighter versions of the current color Behr - M480-4 Below Zero. 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 Behr - M480-4 Below Zero shade: Behr - M470-4 Azure Lake, Behr - 530D-4 Maiden Voyage, Behr - 520A-3 Nevada Sky, Behr - MQ4-23 Aloha and Behr - 530A-2 Skylark
You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.
Darker colors
Shades are based on the same hue and represent a darker version of the current color Behr - M480-4 Below Zero. 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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - T15-11 Sonic Blue, Behr - 530D-6 Teal Bayou, Behr - 540D-6 Wipeout and Behr - 530D-7 Grand Rapids
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
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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - M520-4 Mirror Lake, Behr - P540-5 Pansy Garden, Behr - P540-5 Pansy Garden and Behr - MQ4-29 Brocade
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
Colder colors are created by shifting the hue towards green, blue and violet.
The following colder shades match the Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - M520-4 Mirror Lake, Behr - P540-5 Pansy Garden and Behr - P540-5 Pansy Garden
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
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 Behr - M480-4 Below Zero shade matches the following richer shades: Behr - M480-4 Below Zero, Behr - P480-4 Rushing Stream, Behr - 530B-5 Azurean and Behr - P490-4 Aztec Sky
An example is the development from a pale pink to a strong and bright red.
Paler colors
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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - QE-51 Atmosphere, Behr - N470-4 Nor´Wester, Behr - T11-1 Grayve-Yard and Behr - MQ1-55 Lite Cocoa
An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.
Analogue colors
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 Behr - M480-4 Below Zero shade: Behr - BIC-39 Blue Green Gem, Behr - BIC-39 Blue Green Gem, Behr - M480-4 Below Zero, Behr - M520-4 Mirror Lake and Behr - P540-5 Pansy Garden
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
Monochromatic colors
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 Behr - M480-4 Below Zero shade: Behr - M490-5 Jet Ski, Behr - T15-11 Sonic Blue, Behr - M480-4 Below Zero, Behr - 560D-4 Madras Blue and Behr - M490-1 Breezy Blue
Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye
Partial complementary colors
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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - P570-4 Classic Bouquet and Behr - PPU9-07 Fresh Sprout
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.
Triadic colors
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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - 680B-5 Strawberry Freeze and Behr - 420B-4 Tart Apple
The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.
Rectangular (tetradic) 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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - P570-4 Classic Bouquet, Behr - HDC-WR16-02 Rosy Copper and Behr - P370-5 Lazy Caterpillar
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
Square colors
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 Behr - M480-4 Below Zero shade: Behr - M480-4 Below Zero, Behr - 660B-5 Atlantic Tulip, Behr - HDC-WR16-02 Rosy Copper and Behr - 430B-5 Apple Orchard
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
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
Complementary color
HSL 7.59, 0.4%, 0.39%
LAB 37.8, 28.33, 19.47
Lighter colors
HSL 190.13, 0.41%, 0.63%
LAB 72.18, -17.09, -13.03
HSL 190.54, 0.46%, 0.69%
LAB 76.68, -16.28, -12.72
HSL 192, 0.59%, 0.77%
LAB 83.43, -14.62, -12.67
HSL 167.8, 0.6%, 0.81%
LAB 88.91, -21.07, -0.25
HSL 195.32, 0.61%, 0.85%
LAB 88.5, -8.88, -9.65
Darker colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 190.85, 0.4%, 0.54%
LAB 64.75, -19.07, -16.08
HSL 190.84, 0.34%, 0.47%
LAB 57.21, -17.28, -14.55
HSL 193.95, 0.41%, 0.41%
LAB 50.22, -14.91, -17.14
HSL 192, 0.38%, 0.36%
LAB 44.14, -14.16, -13.38
Warmer colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 205.93, 0.44%, 0.64%
LAB 66.87, -6.44, -22.73
HSL 227.2, 0.41%, 0.65%
LAB 60.27, 8.78, -32.31
HSL 227.2, 0.41%, 0.65%
LAB 60.27, 8.78, -32.31
HSL 244.84, 0.35%, 0.65%
LAB 58.91, 15.85, -31.52
Colder colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 205.93, 0.44%, 0.64%
LAB 66.87, -6.44, -22.73
HSL 227.2, 0.41%, 0.65%
LAB 60.27, 8.78, -32.31
HSL 227.2, 0.41%, 0.65%
LAB 60.27, 8.78, -32.31
Richer colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 190.09, 0.58%, 0.62%
LAB 73.97, -22.64, -18.05
HSL 194.53, 0.63%, 0.6%
LAB 71.04, -19.55, -24.17
HSL 194.78, 0.63%, 0.57%
LAB 69.13, -19.67, -26.03
Paler colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 196.25, 0.26%, 0.64%
LAB 69, -8.86, -10.55
HSL 192, 0.11%, 0.64%
LAB 68.14, -4.75, -3.97
HSL 60, 0.01%, 0.63%
LAB 66.19, -0.38, 1.03
HSL 19.5, 0.21%, 0.63%
LAB 65.64, 7.92, 10.53
Analogue colors
HSL 175.44, 0.43%, 0.64%
LAB 76.7, -25.65, -4.67
HSL 175.44, 0.43%, 0.64%
LAB 76.7, -25.65, -4.67
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 205.93, 0.44%, 0.64%
LAB 66.87, -6.44, -22.73
HSL 227.2, 0.41%, 0.65%
LAB 60.27, 8.78, -32.31
Monochromatic colors
HSL 199.12, 0.36%, 0.51%
LAB 57.6, -11.76, -21.36
HSL 190.85, 0.4%, 0.54%
LAB 64.75, -19.07, -16.08
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 201.56, 0.46%, 0.73%
LAB 76.66, -8.25, -15.91
HSL 196.74, 0.45%, 0.81%
LAB 84.85, -7.7, -9.32
Partial complementary colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 267.69, 0.29%, 0.65%
LAB 61.67, 19.27, -23.72
HSL 55.56, 0.42%, 0.62%
LAB 77.04, -8.75, 38.46
Triadic colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 322.78, 0.41%, 0.62%
LAB 59.91, 37.72, -12.96
HSL 80, 0.48%, 0.66%
LAB 80.48, -23.02, 38.54
Rectangular (tetradic) colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 267.69, 0.29%, 0.65%
LAB 61.67, 19.27, -23.72
HSL 13.85, 0.49%, 0.63%
LAB 63.69, 24.32, 22.23
HSL 80.31, 0.33%, 0.61%
LAB 73.22, -18.56, 30.46
Square colors
HSL 194.29, 0.45%, 0.64%
LAB 71.31, -15.27, -16.54
HSL 280.47, 0.26%, 0.68%
LAB 66.69, 18.7, -18.16
HSL 13.85, 0.49%, 0.63%
LAB 63.69, 24.32, 22.23
HSL 94.11, 0.47%, 0.6%
LAB 75.46, -34.08, 41.73
Description
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, 120 red, 184 green and 204 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.
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 41 cyan, 10 magenta, none yellow and 20 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.
Verification of their color palette as a manufacturer!
Provide designers and agencies with accurate color values.
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HEX to HKS®
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HEX to Sherwin Williams®
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HEX to NCS®
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RAL® to RGB
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RAL® to CMYK
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RAL® to HEX
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RAL® to HKS®
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RAL® to PANTONE®
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RAL® to Sherwin Williams®
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RAL® to NCS®
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HKS® to HEX
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HKS® to RAL®
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HKS® to PANTONE®
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HKS® to Sherwin Williams®
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HKS® to NCS®
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PANTONE® to RGB
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PANTONE® to CMYK
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PANTONE® to HEX
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PANTONE® to RAL®
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PANTONE® to HKS®
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PANTONE® to Sherwin Williams®
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PANTONE® to NCS®
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Sherwin Williams® to RGB
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Sherwin Williams® to CMYK
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Sherwin Williams® to RAL®
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Sherwin Williams® to HKS®
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Sherwin Williams® to PANTONE®
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Sherwin Williams® to NCS®
convert from Sherwin Williams®-number (SW 0000) to NCS-number (S0000-X00X)
NCS® to RGB
convert from NCS-number (S0000-X00X) to RGB red green blue
NCS® to CMYK
convert from NCS-number (S0000-X00X) to CMYK cyan / magenta / yellow / black
NCS® to HEX
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NCS® to RAL®
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NCS® to HKS®
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NCS® to PANTONE®
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NCS® to Sherwin Williams®
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