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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 ispo 2001 - ispo 2001 250/31 it is the complementary color ispo 2001 - ispo 2001 320/10. 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 ispo 2001 - ispo 2001 250/31. 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 color tone ispo 2001 - ispo 2001 250/31: ispo 2001 - ispo 2001 250/31, ispo 2001 - ispo 2001 240/21, ispo 2001 - ispo 2001 260/32, ispo 2001 - ispo 2001 250/23 and ispo 2001 - ispo 2001 270/04

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 ispo 2001 - ispo 2001 250/31. 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 color tone ispo 2001 - ispo 2001 250/31: ispo 2001 - ispo 2001 250/31, ispo 2001 - ispo 2001 260/41, ispo 2001 - ispo 2001 240/30, ispo 2001 - ispo 2001 250/30 and ispo 2001 - ispo 2001 270/30

Among other things, you can use them to modify buttons with mouse-over effects (called :hover in CSS) or generate other color gradations.

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.

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.

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.

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 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.

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.

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 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

Complementary color

CMYK 49 / 19 / 0 / 45

HEX #47728C

RGB 71 114 140

HSL 202.61, 0.33%, 0.41%

LAB 46, -7.33, -18.84

ispo 2001
ispo 2001 320/10

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 0 / 13 / 25 / 12

HEX #E0C2A7

RGB 224 194 167 1

HSL 28.42, 0.48%, 0.77%

LAB 80.3, 6.56, 17.51

ispo 2001
ispo 2001 250/23

CMYK 0 / 12 / 17 / 6

HEX #EFD2C6

RGB 239 210 198 1

HSL 17.56, 0.56%, 0.86%

LAB 86.27, 8.21, 9.64

ispo 2001
ispo 2001 270/04

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 0 / 30 / 40 / 62

HEX #60433A

RGB 96 67 58 1

HSL 14.21, 0.25%, 0.3%

LAB 31.36, 11.21, 10.44

ispo 2001
ispo 2001 270/30

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 0 / 11 / 31 / 35

HEX #A69473

RGB 166 148 115 1

HSL 38.82, 0.22%, 0.55%

LAB 62.1, 1.53, 19.92

ispo 2001
ispo 2001 240/31

CMYK 0 / 11 / 31 / 35

HEX #A69473

RGB 166 148 115 1

HSL 38.82, 0.22%, 0.55%

LAB 62.1, 1.53, 19.92

ispo 2001
ispo 2001 240/31

CMYK 1 / 0 / 37 / 35

HEX #A6A76A

RGB 166 167 106 1

HSL 60.98, 0.26%, 0.54%

LAB 67.12, -9.89, 31.46

ispo 2001
ispo 2001 210/20

CMYK 1 / 0 / 37 / 35

HEX #A6A76A

RGB 166 167 106 1

HSL 60.98, 0.26%, 0.54%

LAB 67.12, -9.89, 31.46

ispo 2001
ispo 2001 210/20

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 0 / 13 / 32 / 18

HEX #D1B68F

RGB 209 182 143 1

HSL 35.45, 0.42%, 0.69%

LAB 75.45, 3.95, 23.44

ispo 2001
ispo 2001 240/22

CMYK 0 / 3 / 24 / 59

HEX #696650

RGB 105 102 80 1

HSL 52.8, 0.14%, 0.36%

LAB 42.89, -2.83, 12.89

ispo 2001
ispo 2001 230/40

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 16 / 0 / 22 / 40

HEX #829A78

RGB 130 154 120 1

HSL 102.35, 0.14%, 0.54%

LAB 60.97, -15.07, 15.11

ispo 2001
ispo 2001 350/01

CMYK 30 / 12 / 0 / 35

HEX #7492A5

RGB 116 146 165 1

HSL 203.27, 0.21%, 0.55%

LAB 58.96, -5.89, -13.43

ispo 2001
ispo 2001 320/21

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 18 / 0 / 9 / 41

HEX #7C9789

RGB 124 151 137 1

HSL 148.89, 0.11%, 0.54%

LAB 60.09, -12.41, 4.23

ispo 2001
ispo 2001 340/01

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 16 / 0 / 22 / 40

HEX #829A78

RGB 130 154 120 1

HSL 102.35, 0.14%, 0.54%

LAB 60.97, -15.07, 15.11

ispo 2001
ispo 2001 350/01

CMYK 30 / 12 / 0 / 35

HEX #7492A5

RGB 116 146 165 1

HSL 203.27, 0.21%, 0.55%

LAB 58.96, -5.89, -13.43

ispo 2001
ispo 2001 320/21

CMYK 0 / 12 / 11 / 42

HEX #938183

RGB 147 129 131 1

HSL 353.33, 0.08%, 0.54%

LAB 55.63, 7.2, 1.43

ispo 2001
ispo 2001 290/21

CMYK 0 / 16 / 32 / 35

HEX #A68B71

RGB 166 139 113 1

HSL 29.43, 0.23%, 0.55%

LAB 59.68, 6.26, 17.72

ispo 2001
ispo 2001 250/31

CMYK 16 / 0 / 22 / 40

HEX #829A78

RGB 130 154 120 1

HSL 102.35, 0.14%, 0.54%

LAB 60.97, -15.07, 15.11

ispo 2001
ispo 2001 350/01

CMYK 30 / 12 / 0 / 35

HEX #7492A5

RGB 116 146 165 1

HSL 203.27, 0.21%, 0.55%

LAB 58.96, -5.89, -13.43

ispo 2001
ispo 2001 320/21

CMYK 0 / 23 / 25 / 35

HEX #A57F7C

RGB 165 127 124 1

HSL 4.39, 0.19%, 0.57%

LAB 56.72, 14.21, 7.28

ispo 2001
ispo 2001 280/21

Description

Color code: ispo 2001 - ispo 2001 250/31 | qconv.com Color code: ispo 2001 - ispo 2001 250/31 | qconv.com - big

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, 166 red, 139 green and 113 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.
166 139 113 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, 16 magenta, 32 yellow and 35 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% 16% 32% 35% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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