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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 #F500AF it is the complementary color #0AFF50. 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 #F500AF. 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 #F500AF shade: #FA00AA, #FF12BD, #FF24D0, #FF36E3 and #FF48F6

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 #F500AF. 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 #F500AF shade: #F500AF, #E4009C, #D30089, #C20076 and #B10063

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 #F500AF shade: #F500AF, #F5006D, #F5002B and #F50000

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 #F500AF shade: #F500AF, #F500F1, #B700F5, #7500F5 and #3300F5

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 #F500AF shade matches the following richer shades: #F500AF

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 #F500AF shade: #F500AF, #E114A6, #CD289E, #B93B95 and #A64F8D

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 #F500AF shade: #B800F5, #F500F1, #F500AF, #F5006E and #F5002D

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 #F500AF shade: #A20074, #CC0091, #F500AF, #FF1FBF and #FF48CB

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 #F500AF shade: #F500AF, #F57600 and #00F5D8

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 #F500AF shade: #F500AF, #AFF500 and #00AFF5

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 #F500AF shade: #F500AF, #F57600, #00F545 and #007EF5

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 #F500AF shade: #F500AF, #F5C000, #00F545 and #0035F5

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 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

Complementary color

CMYK 96 / 0 / 69 / 0

HEX #0AFF50

RGB 10 255 80

HSL 137.14, 1%, 0.52%

LAB 88.05, -82.3, 66.56

 

CMYK 0 / 100 / 32 / 2

HEX #FA00AA

RGB 250 0 170

HSL 319.2, 1%, 0.49%

LAB 55.3, 87.14, -20.36

 

CMYK 0 / 93 / 26 / 0

HEX #FF12BD

RGB 255 18 189

HSL 316.71, 1%, 0.54%

LAB 57.43, 88.83, -28.08

 

CMYK 0 / 86 / 18 / 0

HEX #FF24D0

RGB 255 36 208

HSL 312.88, 1%, 0.57%

LAB 59.04, 88.74, -36.47

 

CMYK 0 / 79 / 11 / 0

HEX #FF36E3

RGB 255 54 227

HSL 308.36, 1%, 0.61%

LAB 61.17, 87.59, -43.87

 

CMYK 0 / 72 / 4 / 0

HEX #FF48F6

RGB 255 72 246

HSL 302.95, 1%, 0.64%

LAB 63.79, 85.44, -50.33

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 100 / 32 / 11

HEX #E4009C

RGB 228 0 156

HSL 318.95, 1%, 0.45%

LAB 50.56, 81.42, -19.71

 

CMYK 0 / 100 / 35 / 17

HEX #D30089

RGB 211 0 137

HSL 321.04, 1%, 0.41%

LAB 46.52, 76.1, -14.73

 

CMYK 0 / 100 / 39 / 24

HEX #C20076

RGB 194 0 118

HSL 323.51, 1%, 0.38%

LAB 42.43, 70.72, -9.56

 

CMYK 0 / 100 / 44 / 31

HEX #B10063

RGB 177 0 99

HSL 326.44, 1%, 0.35%

LAB 38.28, 65.3, -4.15

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 100 / 56 / 4

HEX #F5006D

RGB 245 0 109

HSL 333.31, 1%, 0.48%

LAB 52.42, 81.09, 11.77

 

CMYK 0 / 100 / 82 / 4

HEX #F5002B

RGB 245 0 43

HSL 349.47, 1%, 0.48%

LAB 51.37, 78.27, 49.34

 

CMYK 0 / 100 / 100 / 4

HEX #F50000

RGB 245 0 0

HSL 0, 1%, 0.48%

LAB 51.17, 77.72, 65.21

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 100 / 2 / 4

HEX #F500F1

RGB 245 0 241

HSL 300.98, 1%, 0.48%

LAB 57.81, 94.77, -57.16

 

CMYK 25 / 100 / 0 / 4

HEX #B700F5

RGB 183 0 245

HSL 284.82, 1%, 0.48%

LAB 47.83, 86.67, -76.04

 

CMYK 52 / 100 / 0 / 4

HEX #7500F5

RGB 117 0 245

HSL 268.65, 1%, 0.48%

LAB 38.51, 80.29, -91.71

 

CMYK 79 / 100 / 0 / 4

HEX #3300F5

RGB 51 0 245

HSL 252.49, 1%, 0.48%

LAB 32.47, 77.38, -101.91

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 91 / 26 / 12

HEX #E114A6

RGB 225 20 166

HSL 317.27, 0.84%, 0.48%

LAB 50.99, 80.18, -25.04

 

CMYK 0 / 80 / 23 / 20

HEX #CD289E

RGB 205 40 158

HSL 317.09, 0.67%, 0.48%

LAB 48.22, 71.43, -24.88

 

CMYK 0 / 68 / 19 / 27

HEX #B93B95

RGB 185 59 149

HSL 317.14, 0.52%, 0.48%

LAB 46.46, 59.44, -22.48

 

CMYK 0 / 52 / 15 / 35

HEX #A64F8D

RGB 166 79 141

HSL 317.24, 0.36%, 0.48%

LAB 46.47, 43.77, -17.91

 

CMYK 25 / 100 / 0 / 4

HEX #B800F5

RGB 184 0 245

HSL 285.06, 1%, 0.48%

LAB 47.99, 86.8, -75.78

 

CMYK 0 / 100 / 2 / 4

HEX #F500F1

RGB 245 0 241

HSL 300.98, 1%, 0.48%

LAB 57.81, 94.77, -57.16

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 100 / 55 / 4

HEX #F5006E

RGB 245 0 110

HSL 333.06, 1%, 0.48%

LAB 52.44, 81.16, 11.19

 

CMYK 0 / 100 / 82 / 4

HEX #F5002D

RGB 245 0 45

HSL 348.98, 1%, 0.48%

LAB 51.38, 78.31, 48.3

 

CMYK 0 / 100 / 28 / 36

HEX #A20074

RGB 162 0 116

HSL 317.04, 1%, 0.32%

LAB 35.87, 63.82, -18.88

 

CMYK 0 / 100 / 29 / 20

HEX #CC0091

RGB 204 0 145

HSL 317.35, 1%, 0.4%

LAB 45.47, 75.52, -21.32

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 88 / 25 / 0

HEX #FF1FBF

RGB 255 31 191

HSL 317.14, 1%, 0.56%

LAB 58.04, 87.52, -28.29

 

CMYK 0 / 72 / 20 / 0

HEX #FF48CB

RGB 255 72 203

HSL 317.05, 1%, 0.64%

LAB 61.83, 79.49, -29.29

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 52 / 100 / 4

HEX #F57600

RGB 245 118 0

HSL 28.9, 1%, 0.48%

LAB 63.65, 43.88, 71.27

 

CMYK 100 / 0 / 12 / 4

HEX #00F5D8

RGB 0 245 216

HSL 172.9, 1%, 0.48%

LAB 87.13, -54.67, 0.27

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 29 / 0 / 100 / 4

HEX #AFF500

RGB 175 245 0

HSL 77.14, 1%, 0.48%

LAB 89.12, -48.59, 86.13

 

CMYK 100 / 29 / 0 / 4

HEX #00AFF5

RGB 0 175 245

HSL 197.14, 1%, 0.48%

LAB 67.47, -12.62, -45.1

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 52 / 100 / 4

HEX #F57600

RGB 245 118 0

HSL 28.9, 1%, 0.48%

LAB 63.65, 43.88, 71.27

 

CMYK 100 / 0 / 72 / 4

HEX #00F545

RGB 0 245 69

HSL 136.9, 1%, 0.48%

LAB 84.86, -80.76, 67.18

 

CMYK 100 / 49 / 0 / 4

HEX #007EF5

RGB 0 126 245

HSL 209.14, 1%, 0.48%

LAB 53.51, 16.17, -67.35

 

CMYK 0 / 100 / 29 / 4

HEX #F500AF

RGB 245 0 175

HSL 317.14, 1%, 0.48%

LAB 54.56, 86.69, -24.52

 

CMYK 0 / 22 / 100 / 4

HEX #F5C000

RGB 245 192 0

HSL 47.02, 1%, 0.48%

LAB 80.24, 5.59, 82.01

 

CMYK 100 / 0 / 72 / 4

HEX #00F545

RGB 0 245 69

HSL 136.9, 1%, 0.48%

LAB 84.86, -80.76, 67.18

 

CMYK 100 / 78 / 0 / 4

HEX #0035F5

RGB 0 53 245

HSL 227.02, 1%, 0.48%

LAB 36.25, 60.6, -95.65

 

Description

Color code: HEX #F500AF | qconv.com Color code: HEX #F500AF | qconv.com - big

Red and blue clearly dominate this hue: the red and blue values are higher than green. Bright color: high color values create a bright impression.

The breakdown of the color into the RGB color system: of 255 maximum color components, 245 red, none green and 175 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.
245 0 175 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, 100 magenta, 29 yellow and 4 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% 100% 29% 4% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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