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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 - P490-1 Ocean Front it is the complementary color Behr - MQ1-35 Off Broadway. 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 - P490-1 Ocean Front. 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 - P490-1 Ocean Front shade: Behr - 510A-3 Fresh Water, Behr - 510A-2 Salty Tear, Behr - 500A-1 Glacier Bay and Behr - BL-W09 Bakery Box
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 - P490-1 Ocean Front. 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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - M470-3 Midwinter Mist, Behr - S480-3 Sydney Harbour, Behr - S450-4 Crashing Waves and Behr - PPU13-07 Voyage
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - P520-1 First Rain, Behr - P540-3 Canterbury Bells, Behr - P540-3 Canterbury Bells and Behr - P560-3 Party Hat
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - P520-1 First Rain, Behr - P540-3 Canterbury Bells, Behr - P540-3 Canterbury Bells and Behr - P540-3 Canterbury Bells
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 - P490-1 Ocean Front shade matches the following richer shades: Behr - P490-1 Ocean Front, Behr - P480-2 Crystal Falls and Behr - MQ4-23 Aloha
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - M520-2 After Rain, Behr - MQ3-53 Sky Light View, Behr - 740E-2 Misty Surf and Behr - N530-2 Double Click
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 - P490-1 Ocean Front shade: Behr - 470A-2 Seafoam Pearl, Behr - P450-2 Tahitian Breeze, Behr - P490-1 Ocean Front, Behr - P520-1 First Rain and Behr - P540-3 Canterbury Bells
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 - P490-1 Ocean Front shade: Behr - 530B-4 Bliss Blue, Behr - P490-2 Blue Sarong, Behr - P490-1 Ocean Front, Behr - 510A-1 Soar and Behr - HDC-NT-04G Blanca Peak
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - P570-2 Confetti and Behr - PPU9-13 Yellow Wax Pepper
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - P120-1 Starlet Pink and Behr - 420A-2 Spirit Whisper
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - P570-2 Confetti, Behr - 150C-3 Arizona Sunrise and Behr - 420A-2 Spirit Whisper
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 - P490-1 Ocean Front shade: Behr - P490-1 Ocean Front, Behr - 670A-3 Posies, Behr - 150C-3 Arizona Sunrise and Behr - 430A-3 Fairway Mist
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 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
Complementary color
HSL 20, 0.05%, 0.25%
LAB 26.98, 1.28, 1.83
Lighter colors
HSL 187.2, 0.54%, 0.82%
LAB 87.78, -12.87, -7.62
HSL 184, 0.45%, 0.87%
LAB 91.14, -8.73, -4.08
HSL 168, 0.43%, 0.91%
LAB 93.97, -7.29, -0.33
HSL 150, 0.15%, 0.95%
LAB 95.85, -1.67, 0.49
Darker colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 188.73, 0.44%, 0.75%
LAB 81.98, -13.43, -8.95
HSL 195.92, 0.31%, 0.69%
LAB 73.73, -9.12, -10.54
HSL 190.67, 0.23%, 0.61%
LAB 67.61, -10.65, -8.23
HSL 189.41, 0.22%, 0.54%
LAB 61.63, -12.54, -8.88
Warmer colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 205.53, 0.55%, 0.83%
LAB 84.99, -4.76, -12.81
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
HSL 256.36, 0.36%, 0.82%
LAB 79.72, 9.44, -15.27
Colder colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 205.53, 0.55%, 0.83%
LAB 84.99, -4.76, -12.81
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
Richer colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 188.57, 0.57%, 0.81%
LAB 86.9, -13.64, -8.98
HSL 167.8, 0.6%, 0.81%
LAB 88.91, -21.07, -0.25
Paler colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 201.95, 0.49%, 0.84%
LAB 85.98, -5.52, -10.25
HSL 192, 0.23%, 0.83%
LAB 85.99, -4.57, -3.81
HSL 192.86, 0.16%, 0.83%
LAB 85.25, -3.13, -2.77
HSL 150, 0.02%, 0.82%
LAB 84.02, -0.86, 0.25
Analogue colors
HSL 151.43, 0.53%, 0.84%
LAB 90.05, -17.43, 5.2
HSL 173.88, 0.53%, 0.82%
LAB 88.96, -16.65, -2.75
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 205.53, 0.55%, 0.83%
LAB 84.99, -4.76, -12.81
HSL 226.67, 0.47%, 0.81%
LAB 79.07, 3.81, -18.52
Monochromatic colors
HSL 195.15, 0.63%, 0.68%
LAB 76.33, -17, -20.34
HSL 193.85, 0.63%, 0.76%
LAB 82.27, -14.78, -14.98
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 180, 0.39%, 0.9%
LAB 93.44, -6.22, -2.15
HSL 72, 0.29%, 0.97%
LAB 97.73, -1.2, 2.27
Partial complementary colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 270, 0.33%, 0.8%
LAB 78.23, 12.32, -14.81
HSL 51.11, 0.6%, 0.82%
LAB 90.53, -4.48, 23.45
Triadic colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 325.12, 0.54%, 0.85%
LAB 82.75, 19.33, -6.67
HSL 74.04, 0.58%, 0.84%
LAB 92.24, -11.48, 21.57
Rectangular (tetradic) colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 270, 0.33%, 0.8%
LAB 78.23, 12.32, -14.81
HSL 3.6, 0.56%, 0.82%
LAB 80.25, 16.4, 7.93
HSL 74.04, 0.58%, 0.84%
LAB 92.24, -11.48, 21.57
Square colors
HSL 191.32, 0.6%, 0.83%
LAB 87.6, -11.72, -9.47
HSL 310, 0.36%, 0.8%
LAB 79.75, 17.93, -10.2
HSL 3.6, 0.56%, 0.82%
LAB 80.25, 16.4, 7.93
HSL 92.4, 0.52%, 0.81%
LAB 88.96, -17.65, 21.43
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, 184 red, 227 green and 237 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, 22 cyan, 4 magenta, none yellow and 7 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 NCS®
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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 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 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 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®
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NCS® to RGB
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NCS® to CMYK
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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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