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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 #1DD520 it is the complementary color #E22ADF. 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 #1DD520. 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 #1DD520 shade: #22D51B, #33E72E, #44F941, #55FF54 and #66FF67

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 #1DD520. 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 #1DD520 shade: #1DD520, #0CC30D, #00B100, #009F00 and #008D00

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 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 #1DD520 shade: #1DD320, #4BD31D, #7CD31D, #ADD31D and #D3C81D

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 are created by shifting the hue towards green, blue and violet.

The following colder shades match the #1DD520 shade: #1DD320, #1DD351, #1DD382, #1DD3B3 and #1DC2D3

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 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 #1DD520 shade matches the following richer shades: #1DD320 and #09E60D

An example is the development from a pale pink to a strong and bright red.

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 #1DD520 shade: #1DD320, #30C032, #44AC45, #579958 and #6A856B

An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.

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 #1DD520 shade: #7ED31D, #4DD31D, #1DD31D, #1DD34D and #1DD37E

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.

The following monochrome shades match the #1DD520 shade: #138A15, #18AF1A, #1DD320, #35E438 and #5AE85C

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.

The following split-complementary shades match the #1DD520 shade: #1DD520, #1DAFD3 and #D31D66

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 following triaden shades match the #1DD520 shade: #1DD520, #1D1DD3 and #D31D1D

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.

The following tetraden shades match the #1DD520 shade: #1DD520, #1DAFD3, #D31DD3 and #D3411D

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.

The following squaren shades match the #1DD520 shade: #1DD520, #1D78D3, #D31DD3 and #D3781D

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 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

Complementary color

CMYK 0 / 81 / 1 / 11

HEX #E22ADF

RGB 226 42 223

HSL 300.98, 0.76%, 0.53%

LAB 55.23, 84.15, -51.34

 

CMYK 84 / 0 / 87 / 16

HEX #22D51B

RGB 34 213 27

HSL 117.74, 0.78%, 0.47%

LAB 74.83, -72.64, 69.47

 

CMYK 78 / 0 / 80 / 9

HEX #33E72E

RGB 51 231 46

HSL 118.38, 0.79%, 0.54%

LAB 80.77, -75.04, 70.46

 

CMYK 73 / 0 / 74 / 2

HEX #44F941

RGB 68 249 65

HSL 119.02, 0.94%, 0.62%

LAB 86.68, -76.81, 70.57

 

CMYK 67 / 0 / 67 / 0

HEX #55FF54

RGB 85 255 84

HSL 119.65, 1%, 0.66%

LAB 88.97, -74.32, 66.31

 

CMYK 60 / 0 / 60 / 0

HEX #66FF67

RGB 102 255 103

HSL 120.39, 1%, 0.7%

LAB 89.54, -69.06, 59.39

 

CMYK 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

CMYK 94 / 0 / 93 / 24

HEX #0CC30D

RGB 12 195 13

HSL 120.33, 0.88%, 0.41%

LAB 68.85, -69.64, 66.58

 

CMYK 100 / 0 / 100 / 31

HEX #00B100

RGB 0 177 0

HSL 120, 1%, 0.35%

LAB 62.88, -65.53, 63.25

 

CMYK 100 / 0 / 100 / 38

HEX #009F00

RGB 0 159 0

HSL 120, 1%, 0.31%

LAB 56.88, -60.55, 58.44

 

CMYK 100 / 0 / 100 / 45

HEX #008D00

RGB 0 141 0

HSL 120, 1%, 0.28%

LAB 50.75, -55.45, 53.52

 

CMYK 86 / 0 / 85 / 17

HEX #1DD320

RGB 29 211 32

HSL 120.99, 0.76%, 0.47%

LAB 74.16, -72.32, 67.81

 

CMYK 64 / 0 / 86 / 17

HEX #4BD31D

RGB 75 211 29

HSL 104.84, 0.76%, 0.47%

LAB 74.93, -65.65, 69.44

 

CMYK 41 / 0 / 86 / 17

HEX #7CD31D

RGB 124 211 29

HSL 88.68, 0.76%, 0.47%

LAB 76.66, -52.17, 71.61

 

CMYK 18 / 0 / 86 / 17

HEX #ADD31D

RGB 173 211 29

HSL 72.53, 0.76%, 0.47%

LAB 79.36, -34.03, 74.98

 

CMYK 0 / 5 / 86 / 17

HEX #D3C81D

RGB 211 200 29

HSL 56.37, 0.76%, 0.47%

LAB 79.18, -12.82, 76

 

CMYK 86 / 0 / 85 / 17

HEX #1DD320

RGB 29 211 32

HSL 120.99, 0.76%, 0.47%

LAB 74.16, -72.32, 67.81

 

CMYK 86 / 0 / 62 / 17

HEX #1DD351

RGB 29 211 81

HSL 137.14, 0.76%, 0.47%

LAB 74.47, -68.39, 51.31

 

CMYK 86 / 0 / 38 / 17

HEX #1DD382

RGB 29 211 130

HSL 153.3, 0.76%, 0.47%

LAB 75.12, -60.72, 28.41

 

CMYK 86 / 0 / 15 / 17

HEX #1DD3B3

RGB 29 211 179

HSL 169.45, 0.76%, 0.47%

LAB 76.13, -49.52, 3.9

 

CMYK 86 / 8 / 0 / 17

HEX #1DC2D3

RGB 29 194 211

HSL 185.6, 0.76%, 0.47%

LAB 71.93, -32.77, -19.67

 

CMYK 86 / 0 / 85 / 17

HEX #1DD320

RGB 29 211 32

HSL 120.99, 0.76%, 0.47%

LAB 74.16, -72.32, 67.81

 

CMYK 96 / 0 / 94 / 10

HEX #09E60D

RGB 9 230 13

HSL 121.09, 0.92%, 0.47%

LAB 80, -79.2, 75.83

 

CMYK 86 / 0 / 85 / 17

HEX #1DD320

RGB 29 211 32

HSL 120.99, 0.76%, 0.47%

LAB 74.16, -72.32, 67.81

 

CMYK 75 / 0 / 74 / 25

HEX #30C032

RGB 48 192 50

HSL 120.83, 0.6%, 0.47%

LAB 68.43, -63.37, 57.26

 

CMYK 60 / 0 / 60 / 33

HEX #44AC45

RGB 68 172 69

HSL 120.58, 0.43%, 0.47%

LAB 62.65, -50.74, 43.34

 

CMYK 43 / 0 / 42 / 40

HEX #579958

RGB 87 153 88

HSL 120.91, 0.28%, 0.47%

LAB 57.57, -34.95, 27.72

 

CMYK 20 / 0 / 20 / 48

HEX #6A856B

RGB 106 133 107

HSL 122.22, 0.11%, 0.47%

LAB 52.84, -15.1, 10.89

 

CMYK 40 / 0 / 86 / 17

HEX #7ED31D

RGB 126 211 29

HSL 88.02, 0.76%, 0.47%

LAB 76.75, -51.5, 71.72

 

CMYK 64 / 0 / 86 / 17

HEX #4DD31D

RGB 77 211 29

HSL 104.18, 0.76%, 0.47%

LAB 74.99, -65.22, 69.51

 

CMYK 86 / 0 / 86 / 17

HEX #1DD31D

RGB 29 211 29

HSL 120, 0.76%, 0.47%

LAB 74.15, -72.45, 68.45

 

CMYK 86 / 0 / 64 / 17

HEX #1DD34D

RGB 29 211 77

HSL 135.82, 0.76%, 0.47%

LAB 74.44, -68.85, 52.99

 

CMYK 86 / 0 / 40 / 17

HEX #1DD37E

RGB 29 211 126

HSL 151.98, 0.76%, 0.47%

LAB 75.05, -61.48, 30.38

 

CMYK 86 / 0 / 85 / 46

HEX #138A15

RGB 19 138 21

HSL 121.01, 0.76%, 0.31%

LAB 49.94, -52.25, 48.59

 

CMYK 86 / 0 / 85 / 31

HEX #18AF1A

RGB 24 175 26

HSL 120.79, 0.76%, 0.39%

LAB 62.45, -62.67, 58.69

 

CMYK 86 / 0 / 85 / 17

HEX #1DD320

RGB 29 211 32

HSL 120.99, 0.76%, 0.47%

LAB 74.16, -72.32, 67.81

 

CMYK 77 / 0 / 75 / 11

HEX #35E438

RGB 53 228 56

HSL 121.03, 0.76%, 0.55%

LAB 79.91, -73.27, 66.7

 

CMYK 61 / 0 / 60 / 9

HEX #5AE85C

RGB 90 232 92

HSL 120.85, 0.76%, 0.63%

LAB 82.2, -64.86, 55.63

 

CMYK 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

CMYK 86 / 17 / 0 / 17

HEX #1DAFD3

RGB 29 175 211

HSL 191.87, 0.76%, 0.47%

LAB 66.23, -23.37, -28.38

 

CMYK 0 / 86 / 52 / 17

HEX #D31D66

RGB 211 29 102

HSL 335.93, 0.76%, 0.47%

LAB 46.56, 69.64, 6.84

 

CMYK 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

CMYK 86 / 86 / 0 / 17

HEX #1D1DD3

RGB 29 29 211

HSL 240, 0.76%, 0.47%

LAB 29.01, 61.62, -88.24

 

CMYK 0 / 86 / 86 / 17

HEX #D31D1D

RGB 211 29 29

HSL 0, 0.76%, 0.47%

LAB 45.38, 66.23, 48.45

 

CMYK 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

CMYK 86 / 17 / 0 / 17

HEX #1DAFD3

RGB 29 175 211

HSL 191.87, 0.76%, 0.47%

LAB 66.23, -23.37, -28.38

 

CMYK 0 / 86 / 0 / 17

HEX #D31DD3

RGB 211 29 211

HSL 300, 0.76%, 0.47%

LAB 51.19, 82.14, -51.1

 

CMYK 0 / 69 / 86 / 17

HEX #D3411D

RGB 211 65 29

HSL 11.87, 0.76%, 0.47%

LAB 49.15, 55.68, 51.56

 

CMYK 86 / 0 / 85 / 16

HEX #1DD520

RGB 29 213 32

HSL 120.98, 0.76%, 0.47%

LAB 74.8, -72.89, 68.38

 

CMYK 86 / 43 / 0 / 17

HEX #1D78D3

RGB 29 120 211

HSL 210, 0.76%, 0.47%

LAB 49.97, 7.88, -53.94

 

CMYK 0 / 86 / 0 / 17

HEX #D31DD3

RGB 211 29 211

HSL 300, 0.76%, 0.47%

LAB 51.19, 82.14, -51.1

 

CMYK 0 / 43 / 86 / 17

HEX #D3781D

RGB 211 120 29

HSL 30, 0.76%, 0.47%

LAB 59.32, 29.61, 59.88

 

Description

Color code: HEX #1DD520 | qconv.com Color code: HEX #1DD520 | qconv.com - big

Green clearly dominates: the green value is higher than red and blue. Dark color: low color values appear darker.

The breakdown of the color into the RGB color system: of 255 maximum color components, 29 red, 213 green and 32 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.
29 213 32 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 86 cyan, none magenta, 85 yellow and 16 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.
86% 0% 85% 16% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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