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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 Benjamin Moore - 392 - Olive Tree it is the complementary color Benjamin Moore - CC-902 - Waterdrop. 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 Benjamin Moore - 392 - Olive Tree. 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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 391 - Sweet Vibrations, Benjamin Moore - 286 - Luxurious Gold, Benjamin Moore - 285 - Treasure Trove and Benjamin Moore - 360 - San Fernando Sunshine
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 Benjamin Moore - 392 - Olive Tree. 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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 2146-20 - Forest Moss, Benjamin Moore - 2146-10 - Dark Celery, Benjamin Moore - 231 - Aged Bronze and Benjamin Moore - CW-475 - Palmer Green
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 196 - Goldenhurst, Benjamin Moore - CSP-1075 - Byzantine, Benjamin Moore - CW-310 - China Red and Benjamin Moore - 2006-30 - Rosy Apple
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 406 - Huntington Green, Benjamin Moore - 427 - Napa Vineyards, Benjamin Moore - 559 - Paradise Valley and Benjamin Moore - 2032-30 - Fresh Lime
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 Benjamin Moore - 392 - Olive Tree shade matches the following richer shades: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 399 - Exotic Lime, Benjamin Moore - 2024-30 - Citron and Benjamin Moore - 2023-30 - Sun Porch
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 531 - Ponderosa Pine, Benjamin Moore - CW-65 - Gunsmith Gray, Benjamin Moore - 2130-40 - Black Pepper and Benjamin Moore - 825 - Blue Nova
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - CSP-1075 - Byzantine, Benjamin Moore - 196 - Goldenhurst, Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 406 - Huntington Green and Benjamin Moore - 427 - Napa Vineyards
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 2145-10 - Avocado, Benjamin Moore - 2147-10 - Oregano, Benjamin Moore - 392 - Olive Tree, Benjamin Moore - CSP-890 - Martini Olive and Benjamin Moore - CSP-885 - Turkish Bay Leaf
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 2032-30 - Fresh Lime and Benjamin Moore - 2071-30 - Mystical Grape
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 2052-40 - Blue Spa and Benjamin Moore - 2074-30 - Twilight Magenta
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 2032-30 - Fresh Lime, Benjamin Moore - 819 - Southern Belle and Benjamin Moore - 2076-30 - Crushed Berries
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 Benjamin Moore - 392 - Olive Tree shade: Benjamin Moore - 392 - Olive Tree, Benjamin Moore - 587 - Scotch Plains Green, Benjamin Moore - 819 - Southern Belle and Benjamin Moore - 2076-30 - Crushed Berries
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 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
Complementary color
HSL 220, 0.36%, 0.53%
LAB 50.93, 5.86, -33.95
Lighter colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 53.59, 0.48%, 0.58%
LAB 75.42, -8.31, 47.42
HSL 46.36, 0.57%, 0.62%
LAB 77.1, -1.92, 45.84
HSL 48.12, 0.67%, 0.7%
LAB 84.23, -3.95, 42.55
HSL 50.77, 0.87%, 0.76%
LAB 91.19, -6.47, 44.71
Darker colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 58.71, 0.43%, 0.42%
LAB 61.36, -11.41, 46.91
HSL 62.7, 0.49%, 0.35%
LAB 54.4, -13.58, 45.59
HSL 40, 0.29%, 0.39%
LAB 46.55, 1.9, 24.01
HSL 56.84, 0.25%, 0.3%
LAB 38.82, -5.31, 20.98
Warmer colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 36.12, 0.41%, 0.49%
LAB 59.01, 8.46, 38.92
HSL 27.17, 0.45%, 0.46%
LAB 52.78, 18.02, 35.61
HSL 10.69, 0.41%, 0.49%
LAB 48.59, 32.01, 25.51
HSL 3.89, 0.44%, 0.48%
LAB 45.56, 40.67, 24.64
Colder colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 71.03, 0.36%, 0.48%
LAB 64.84, -18.87, 42.69
HSL 89.29, 0.34%, 0.51%
LAB 65.78, -28.43, 38.55
HSL 110.22, 0.38%, 0.53%
LAB 66.7, -41.85, 39.34
HSL 115.05, 0.44%, 0.48%
LAB 64.88, -50.53, 45.98
Richer colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 60, 0.58%, 0.5%
LAB 79.07, -16.89, 69.2
HSL 53.61, 0.68%, 0.51%
LAB 78.8, -9.1, 71.54
HSL 51.43, 0.94%, 0.51%
LAB 86.04, -4.32, 85.35
Paler colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 57.93, 0.23%, 0.5%
LAB 62.56, -8.03, 29.68
HSL 52.94, 0.07%, 0.49%
LAB 54.53, -2.03, 8.38
HSL 208.57, 0.09%, 0.48%
LAB 51.44, -1.84, -6.82
HSL 220.36, 0.23%, 0.46%
LAB 45.96, 2.97, -22.37
Analogue colors
HSL 27.17, 0.45%, 0.46%
LAB 52.78, 18.02, 35.61
HSL 36.12, 0.41%, 0.49%
LAB 59.01, 8.46, 38.92
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 71.03, 0.36%, 0.48%
LAB 64.84, -18.87, 42.69
HSL 89.29, 0.34%, 0.51%
LAB 65.78, -28.43, 38.55
Monochromatic colors
HSL 66.21, 0.33%, 0.34%
LAB 47.12, -11.58, 31.05
HSL 56.88, 0.38%, 0.4%
LAB 55.63, -8.8, 39.15
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 57.98, 0.39%, 0.55%
LAB 73, -11.01, 43.78
HSL 51.78, 0.4%, 0.65%
LAB 76.82, -5.79, 33.08
Partial complementary colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 115.05, 0.44%, 0.48%
LAB 64.88, -50.53, 45.98
HSL 267.46, 0.28%, 0.41%
LAB 37.07, 24.13, -28.89
Triadic colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 182.05, 0.38%, 0.46%
LAB 60.29, -24.61, -9.38
HSL 320, 0.35%, 0.45%
LAB 43.4, 40.69, -14.89
Rectangular (tetradic) colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 115.05, 0.44%, 0.48%
LAB 64.88, -50.53, 45.98
HSL 224.8, 0.37%, 0.4%
LAB 36.66, 9.7, -33.42
HSL 330.54, 0.45%, 0.49%
LAB 46, 50.82, -7.54
Square colors
HSL 54, 0.4%, 0.49%
LAB 66.55, -8.12, 47.11
HSL 151.14, 0.33%, 0.47%
LAB 60.16, -33.48, 12.45
HSL 224.8, 0.37%, 0.4%
LAB 36.66, 9.7, -33.42
HSL 330.54, 0.45%, 0.49%
LAB 46, 50.82, -7.54
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, 174 red, 164 green and 74 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, 6 magenta, 57 yellow and 32 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.
Popular conversions
RGB to HEX
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RGB to RAL®
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RGB to HKS®
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RGB to PANTONE®
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RGB to Sherwin Williams®
convert from RGB red green blue to Sherwin Williams®-number (SW 0000)
RGB to NCS®
convert from RGB red green blue to NCS-number (S0000-X00X)
CMYK to HEX
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CMYK to RGB
convert from CMYK cyan / magenta / yellow / black to RGB red green blue
CMYK to RAL®
convert from CMYK cyan / magenta / yellow / black to RAL®-number (RAL 0000)
CMYK to HKS®
convert from CMYK cyan / magenta / yellow / black to HKS®-number (HKS 00)
CMYK to PANTONE®
convert from CMYK cyan / magenta / yellow / black to Pantone®-number (Pantone 0000)
CMYK to Sherwin Williams®
convert from CMYK cyan / magenta / yellow / black to Sherwin Williams®-number (SW 0000)
CMYK to NCS®
convert from CMYK cyan / magenta / yellow / black to NCS-number (S0000-X00X)
HEX to RGB
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HEX to CMYK
convert from #RRGGBB to CMYK cyan / magenta / yellow / black
HEX to RAL®
convert from #RRGGBB to RAL®-number (RAL 0000)
HEX to HKS®
convert from #RRGGBB to HKS®-number (HKS 00)
HEX to PANTONE®
convert from #RRGGBB to Pantone®-number (Pantone 0000)
HEX to Sherwin Williams®
convert from #RRGGBB to Sherwin Williams®-number (SW 0000)
HEX to NCS®
convert from #RRGGBB to NCS-number (S0000-X00X)
RAL® to RGB
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RAL® to CMYK
convert from RAL®-number (RAL 0000) to CMYK cyan / magenta / yellow / black
RAL® to HEX
convert from RAL®-number (RAL 0000) to #RRGGBB
RAL® to HKS®
convert from RAL®-number (RAL 0000) to HKS®-number (HKS 00)
RAL® to PANTONE®
convert from RAL®-number (RAL 0000) to Pantone®-number (Pantone 0000)
RAL® to Sherwin Williams®
convert from RAL®-number (RAL 0000) to Sherwin Williams®-number (SW 0000)
RAL® to NCS®
convert from RAL®-number (RAL 0000) to NCS-number (S0000-X00X)
HKS® to RGB
convert from HKS®-number (HKS 00) to RGB red green blue
HKS® to CMYK
convert from HKS®-number (HKS 00) to CMYK cyan / magenta / yellow / black
HKS® to HEX
convert from HKS®-number (HKS 00) to #RRGGBB
HKS® to RAL®
convert from HKS®-number (HKS 00) to RAL®-number (RAL 0000)
HKS® to PANTONE®
convert from HKS®-number (HKS 00) to Pantone®-number (Pantone 0000)
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
convert from Pantone®-number (Pantone 0000) to CMYK cyan / magenta / yellow / black
PANTONE® to HEX
convert from Pantone®-number (Pantone 0000) to #RRGGBB
PANTONE® to RAL®
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PANTONE® to HKS®
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PANTONE® to Sherwin Williams®
convert from Pantone®-number (Pantone 0000) to Sherwin Williams®-number (SW 0000)
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®
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