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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 RGB 105 250 195 it is the complementary color RGB 150 5 60. 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 RGB 105 250 195. 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 RGB 105 250 195: RGB 110 250 190, RGB 127 255 209, RGB 144 255 228, RGB 161 255 247 and RGB 178 255 255

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 RGB 105 250 195. 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 RGB 105 250 195: RGB 105 250 195, RGB 88 232 176, RGB 71 214 157, RGB 54 196 138 and RGB 37 178 119

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 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

Complementary color

CMYK 0 / 97 / 60 / 41

HEX #96053C

RGB 150 5 60

HSL 337.24, 0.94%, 0.3%

LAB 31.62, 55.27, 10.96

 

CMYK 56 / 0 / 24 / 2

HEX #6EFABE

RGB 110 250 190

HSL 154.29, 0.93%, 0.71%

LAB 89.58, -51.71, 17.49

 

CMYK 50 / 0 / 18 / 0

HEX #7FFFD1

RGB 127 255 209

HSL 158.44, 1%, 0.75%

LAB 91.97, -46.17, 11.16

 

CMYK 44 / 0 / 11 / 0

HEX #90FFE4

RGB 144 255 228

HSL 165.41, 1%, 0.78%

LAB 93.04, -38.07, 2.98

 

CMYK 37 / 0 / 3 / 0

HEX #A1FFF7

RGB 161 255 247

HSL 174.89, 1%, 0.82%

LAB 94.23, -29.6, -5.01

 

CMYK 30 / 0 / 0 / 0

HEX #B2FFFF

RGB 178 255 255

HSL 180, 1%, 0.85%

LAB 95.25, -23.36, -7.55

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 62 / 0 / 24 / 9

HEX #58E8B0

RGB 88 232 176

HSL 156.67, 0.76%, 0.63%

LAB 83.4, -51.53, 15.99

 

CMYK 67 / 0 / 27 / 16

HEX #47D69D

RGB 71 214 157

HSL 156.08, 0.64%, 0.56%

LAB 77.2, -51.27, 17.23

 

CMYK 72 / 0 / 30 / 23

HEX #36C48A

RGB 54 196 138

HSL 155.49, 0.57%, 0.49%

LAB 70.94, -50.79, 18.59

 

CMYK 79 / 0 / 33 / 30

HEX #25B277

RGB 37 178 119

HSL 154.89, 0.66%, 0.42%

LAB 64.62, -50.03, 20.1

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 58 / 0 / 12 / 2

HEX #6AFADB

RGB 106 250 219

HSL 167.08, 0.94%, 0.7%

LAB 90.11, -46.06, 3.24

 

CMYK 58 / 0 / 3 / 2

HEX #6AFAF3

RGB 106 250 243

HSL 177.08, 0.94%, 0.7%

LAB 90.74, -40.14, -8.32

 

CMYK 58 / 7 / 0 / 2

HEX #6AE9FA

RGB 106 233 250

HSL 187.08, 0.94%, 0.7%

LAB 86.13, -30.39, -18.88

 

CMYK 58 / 16 / 0 / 2

HEX #6AD1FA

RGB 106 209 250

HSL 197.08, 0.94%, 0.7%

LAB 79.37, -18.5, -29.16

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 59 / 0 / 22 / 82

HEX #132E24

RGB 19 46 36

HSL 157.78, 0.42%, 0.13%

LAB 16.6, -13.35, 3.31

 

CMYK 58 / 0 / 22 / 62

HEX #29614C

RGB 41 97 76

HSL 157.5, 0.41%, 0.27%

LAB 37.01, -24.08, 6.47

 

CMYK 58 / 0 / 22 / 42

HEX #3E9473

RGB 62 148 115

HSL 156.98, 0.41%, 0.41%

LAB 55.52, -34.12, 9.78

 

CMYK 58 / 0 / 22 / 22

HEX #54C79B

RGB 84 199 155

HSL 157.04, 0.51%, 0.55%

LAB 72.96, -43.02, 12.4

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 58 / 47 / 0 / 2

HEX #6A84FA

RGB 106 132 250

HSL 229.17, 0.94%, 0.7%

LAB 58.48, 24.8, -61.95

 

CMYK 0 / 45 / 58 / 2

HEX #FA896A

RGB 250 137 106

HSL 12.92, 0.94%, 0.7%

LAB 68.94, 40.12, 35.62

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 22 / 58 / 0 / 2

HEX #C36AFA

RGB 195 106 250

HSL 277.08, 0.94%, 0.7%

LAB 60.62, 59.21, -58.1

 

CMYK 0 / 22 / 58 / 2

HEX #FAC36A

RGB 250 195 106

HSL 37.08, 0.94%, 0.7%

LAB 82.05, 9.92, 51.61

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 58 / 47 / 0 / 2

HEX #6A84FA

RGB 106 132 250

HSL 229.17, 0.94%, 0.7%

LAB 58.48, 24.8, -61.95

 

CMYK 0 / 58 / 36 / 2

HEX #FA6AA1

RGB 250 106 161

HSL 337.08, 0.94%, 0.7%

LAB 64.33, 60.09, -1.62

 

CMYK 0 / 10 / 58 / 2

HEX #FAE06A

RGB 250 224 106

HSL 49.17, 0.94%, 0.7%

LAB 89.24, -4.94, 59.92

 

CMYK 58 / 0 / 22 / 2

HEX #69FAC3

RGB 105 250 195

HSL 157.24, 0.94%, 0.7%

LAB 89.54, -51.66, 14.83

 

CMYK 51 / 58 / 0 / 2

HEX #7B6AFA

RGB 123 106 250

HSL 247.08, 0.94%, 0.7%

LAB 53.41, 43.43, -70.07

 

CMYK 0 / 58 / 36 / 2

HEX #FA6AA1

RGB 250 106 161

HSL 337.08, 0.94%, 0.7%

LAB 64.33, 60.09, -1.62

 

CMYK 7 / 0 / 58 / 2

HEX #E9FA6A

RGB 233 250 106

HSL 67.08, 0.94%, 0.7%

LAB 94.63, -24.46, 65.6

 

Description

Color code: RGB 105 250 195 | qconv.com Color code: RGB 105 250 195 | 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, 105 red, 250 green and 195 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.
105 250 195 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 58 cyan, none magenta, 22 yellow and 2 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.
58% 0% 22% 2% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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