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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 - N350-5 Muted Sage it is the complementary color Behr - MQ5-11 Encore. 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 - N350-5 Muted Sage. 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 - N350-5 Muted Sage: Behr - MQ6-29 Lost Canyon, Behr - 400F-5 Promenade, Behr - 750D-4 Pebble Stone, Behr - MQ6-59 Still Moment and Behr - PPU8-15 Stonewashed

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 - N350-5 Muted Sage. 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 - N350-5 Muted Sage: Behr - N350-5 Muted Sage, Behr - PPU8-23 Manuscript, Behr - 770D-6 Sandwashed Driftwood, Behr - QE-32 Treemoss and Behr - 790B-7 Bitter Chocolate

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 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

Complementary color

CMYK 17 / 12 / 0 / 49

HEX #6D7383

RGB 109 115 131

HSL 223.64, 0.09%, 0.47%

LAB 48.45, 1.31, -9.54

Behr
MQ5-11 Encore

CMYK 0 / 7 / 20 / 40

HEX #998E7A

RGB 153 142 122 1

HSL 38.71, 0.13%, 0.54%

LAB 59.46, 0.67, 12.14

Behr
MQ6-29 Lost Canyon

CMYK 0 / 1 / 15 / 36

HEX #A4A38C

RGB 164 163 140 1

HSL 57.5, 0.12%, 0.6%

LAB 66.5, -3.7, 12.09

Behr
400F-5 Promenade

CMYK 0 / 3 / 12 / 20

HEX #CBC4B2

RGB 203 196 178 1

HSL 43.2, 0.19%, 0.75%

LAB 79.27, -0.63, 9.9

Behr
MQ6-59 Still Moment

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 0 / 3 / 13 / 49

HEX #827E71

RGB 130 126 113 1

HSL 45.88, 0.07%, 0.48%

LAB 52.8, -0.9, 7.61

Behr
PPU8-23 Manuscript

CMYK 0 / 10 / 28 / 62

HEX #615746

RGB 97 87 70 1

HSL 37.78, 0.16%, 0.33%

LAB 37.48, 1.06, 11.38

Behr
QE-32 Treemoss

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 5 / 0 / 18 / 41

HEX #90977C

RGB 144 151 124 1

HSL 75.56, 0.11%, 0.54%

LAB 61.24, -7.48, 13.39

Behr
ECC-63-1 Autumn Sage

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 0 / 2 / 14 / 22

HEX #C6C2AB

RGB 198 194 171 1

HSL 51.11, 0.19%, 0.72%

LAB 78.19, -2.53, 12.07

Behr
PPU9-19 Organic Field

CMYK 0 / 3 / 15 / 2

HEX #FBF3D6

RGB 251 243 214 1

HSL 47.03, 0.82%, 0.91%

LAB 95.77, -2.01, 14.95

Behr
390A-2 Pina Colada

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 / 2 / 15 / 63

HEX #5E5C50

RGB 94 92 80 1

HSL 51.43, 0.08%, 0.34%

LAB 38.92, -1.55, 7.2

Behr
N370-7 Night Mission

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 8 / 0 / 12 / 43

HEX #879281

RGB 135 146 129 1

HSL 98.82, 0.07%, 0.54%

LAB 59.25, -7.28, 7.66

Behr
QE-45 Thistle

CMYK 13 / 17 / 0 / 39

HEX #87819B

RGB 135 129 155 1

HSL 253.85, 0.12%, 0.56%

LAB 55.3, 7.65, -13.08

Behr
S570-5 Live Jazz

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 12 / 0 / 1 / 42

HEX #819392

RGB 129 147 146 1

HSL 176.67, 0.08%, 0.54%

LAB 59.53, -6.61, -1.65

Behr
QE-53 Raindance

CMYK 3 / 19 / 0 / 42

HEX #907895

RGB 144 120 149 1

HSL 289.66, 0.12%, 0.53%

LAB 53.53, 14.77, -12.18

Behr
M100-5 Passion Fruit

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 8 / 0 / 12 / 43

HEX #879281

RGB 135 146 129 1

HSL 98.82, 0.07%, 0.54%

LAB 59.25, -7.28, 7.66

Behr
QE-45 Thistle

CMYK 0 / 15 / 5 / 42

HEX #957E8E

RGB 149 126 142 1

HSL 318.26, 0.1%, 0.54%

LAB 55.34, 11.72, -5.34

Behr
680F-5 Plum Swirl

CMYK 0 / 2 / 14 / 42

HEX #93907E

RGB 147 144 126 1

HSL 51.43, 0.09%, 0.54%

LAB 59.58, -2.14, 9.97

Behr
N350-5 Muted Sage

CMYK 0 / 15 / 5 / 42

HEX #957E8E

RGB 149 126 142 1

HSL 318.26, 0.1%, 0.54%

LAB 55.34, 11.72, -5.34

Behr
680F-5 Plum Swirl

Description

Color code: Behr - N350-5 Muted Sage | qconv.com Color code: Behr - N350-5 Muted Sage | 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, 147 red, 144 green and 126 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.
147 144 126 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, 2 magenta, 14 yellow and 42 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% 2% 14% 42% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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