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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 - P160-3 All Dressed Up it is the complementary color Behr - S-H-490 Billiard Table. 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 - P160-3 All Dressed Up. 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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - PPH-28 (HISP) Salm0N Fresco, Behr - 140A-3 Carnation Bloom, Behr - 130A-2 Fading Rose and Behr - 110A-2 Poetic Princess
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 - P160-3 All Dressed Up. 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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - P140-4 I Pink I Can, Behr - 150D-5 Deep Bloom, Behr - 150D-6 Strawberry Rhubarb and Behr - PPU1-07 Powder Room
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up and Behr - P160-3 All Dressed Up
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - P130-4 It´S A Girl, Behr - 690B-4 Pink Begonia, Behr - 680A-3 Pink Bliss and Behr - P110-3 Bff
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 - P160-3 All Dressed Up shade matches the following richer shades: Behr - P160-3 All Dressed Up, Behr - 150B-5 Cheery and Behr - 150B-5 Cheery
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - 110C-3 Glamour, Behr - S130-3 Ballet Rose, Behr - HDC-CL-25G Georgian Pink and Behr - PPF-26 Polished Rock
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 - P160-3 All Dressed Up shade: Behr - 690B-4 Pink Begonia, Behr - P130-4 It´S A Girl, Behr - P160-3 All Dressed Up, Behr - M170-4 Passion Fruit Punch and Behr - 280C-3 Fresh Praline
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 - P160-3 All Dressed Up shade: Behr - T15-14 Super Hero, Behr - P160-4 Juicy Details, Behr - P160-3 All Dressed Up, Behr - P160-2 Blush Rush and Behr - M140-1 Funhouse
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - 410A-3 Honeydew and Behr - P520-3 Toile Blue
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - P390-4 Young Green and Behr - P540-4 Lavender Sky
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - 410A-3 Honeydew, Behr - P460-2 Tropical Waterfall and Behr - P550-4 Water Hyacinth
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 - P160-3 All Dressed Up shade: Behr - P160-3 All Dressed Up, Behr - 420A-3 Key Lime, Behr - P460-2 Tropical Waterfall and Behr - P570-3 Flower Girl
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 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
Complementary color
HSL 174.62, 0.66%, 0.23%
LAB 37.19, -24.32, -2.6
Lighter colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 10.11, 0.92%, 0.81%
LAB 78.79, 25.12, 18.48
HSL 2.03, 0.83%, 0.86%
LAB 82.68, 20.12, 8.89
HSL 358.57, 0.81%, 0.9%
LAB 87.02, 14.88, 5.03
HSL 352.17, 0.62%, 0.93%
LAB 91.42, 8.36, 1.39
Darker colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 350.12, 0.5%, 0.66%
LAB 62.59, 34.52, 6.65
HSL 0.76, 0.41%, 0.62%
LAB 58.39, 30.4, 13.63
HSL 359.3, 0.38%, 0.56%
LAB 52.02, 34.58, 15.05
HSL 356.43, 0.35%, 0.47%
LAB 43.5, 35.25, 13.59
Warmer colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
Colder colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 339.45, 0.53%, 0.73%
LAB 69.53, 30.93, -1.76
HSL 329.54, 0.49%, 0.74%
LAB 71.43, 29.14, -7.29
HSL 322.5, 0.5%, 0.78%
LAB 76.02, 25.97, -9.76
HSL 311.16, 0.37%, 0.77%
LAB 76.57, 21.41, -11.74
Richer colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 1.15, 0.78%, 0.74%
LAB 68.37, 38.51, 18.12
HSL 1.15, 0.78%, 0.74%
LAB 68.37, 38.51, 18.12
Paler colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 350.32, 0.46%, 0.74%
LAB 70.85, 24.51, 4.01
HSL 353.68, 0.3%, 0.75%
LAB 74.13, 14.43, 3.16
HSL 13.33, 0.14%, 0.74%
LAB 75.81, 4.27, 3.81
HSL 171.43, 0.06%, 0.75%
LAB 78.24, -2.59, -0.35
Analogue colors
HSL 329.54, 0.49%, 0.74%
LAB 71.43, 29.14, -7.29
HSL 339.45, 0.53%, 0.73%
LAB 69.53, 30.93, -1.76
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 10.4, 0.62%, 0.76%
LAB 75.04, 21.04, 15.66
HSL 27.8, 0.63%, 0.75%
LAB 78.87, 10.63, 25.23
Monochromatic colors
HSL 355.97, 0.53%, 0.56%
LAB 51.27, 47.98, 19.78
HSL 357.53, 0.56%, 0.66%
LAB 61.34, 38.08, 14.7
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 357.69, 0.63%, 0.84%
LAB 80.86, 18.96, 6.16
HSL 353.08, 0.52%, 0.9%
LAB 88.85, 9.47, 1.8
Partial complementary colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 63.61, 0.61%, 0.74%
LAB 88.9, -14.05, 39.93
HSL 207.27, 0.56%, 0.73%
LAB 75.18, -5.58, -21.96
Triadic colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 121.97, 0.41%, 0.71%
LAB 79.59, -31.04, 23.12
HSL 227, 0.45%, 0.74%
LAB 70.86, 5.93, -25.21
Rectangular (tetradic) colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 63.61, 0.61%, 0.74%
LAB 88.9, -14.05, 39.93
HSL 180, 0.5%, 0.75%
LAB 84.73, -20.04, -6.5
HSL 236.4, 0.36%, 0.73%
LAB 68.26, 9.09, -24.25
Square colors
HSL 356.88, 0.61%, 0.75%
LAB 70.9, 29.36, 9.79
HSL 80, 0.52%, 0.74%
LAB 85.7, -19.09, 31.36
HSL 180, 0.5%, 0.75%
LAB 84.73, -20.04, -6.5
HSL 269.33, 0.31%, 0.72%
LAB 69.48, 16.62, -20.01
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, 230 red, 153 green and 157 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, none cyan, 33 magenta, 32 yellow and 10 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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RGB to HKS®
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RGB to Sherwin Williams®
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RGB to NCS®
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CMYK to RGB
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CMYK to RAL®
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CMYK to HKS®
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CMYK to PANTONE®
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CMYK to Sherwin Williams®
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HEX to HKS®
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HEX to PANTONE®
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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®
convert from RAL®-number (RAL 0000) to Sherwin Williams®-number (SW 0000)
RAL® to NCS®
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HKS® to RGB
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HKS® to CMYK
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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®
convert from HKS®-number (HKS 00) to Sherwin Williams®-number (SW 0000)
HKS® to NCS®
convert from HKS®-number (HKS 00) to NCS-number (S0000-X00X)
PANTONE® to RGB
convert from Pantone®-number (Pantone 0000) to RGB red green blue
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 HEX
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Sherwin Williams® to RAL®
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Sherwin Williams® to HKS®
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Sherwin Williams® to PANTONE®
convert from Sherwin Williams®-number (SW 0000) to Pantone®-number (Pantone 0000)
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
convert from NCS-number (S0000-X00X) to #RRGGBB
NCS® to RAL®
convert from NCS-number (S0000-X00X) to RAL®-number (RAL 0000)
NCS® to HKS®
convert from NCS-number (S0000-X00X) to HKS®-number (HKS 00)
NCS® to PANTONE®
convert from NCS-number (S0000-X00X) to Pantone®-number (Pantone 0000)
NCS® to Sherwin Williams®
convert from NCS-number (S0000-X00X) to Sherwin Williams®-number (SW 0000)