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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 123 234 170 it is the complementary color RGB 132 21 85. 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 123 234 170. 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 123 234 170: RGB 128 234 165, RGB 145 252 184, RGB 162 255 203, RGB 179 255 222 and RGB 196 255 241

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 123 234 170. 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 123 234 170: RGB 123 234 170, RGB 106 216 151, RGB 89 198 132, RGB 72 180 113 and RGB 55 162 94

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 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

Complementary color

CMYK 0 / 84 / 36 / 48

HEX #841555

RGB 132 21 85

HSL 325.41, 0.73%, 0.3%

LAB 29.66, 49.95, -8.94

 

CMYK 45 / 0 / 29 / 8

HEX #80EAA5

RGB 128 234 165

HSL 140.94, 0.72%, 0.71%

LAB 85.07, -45.63, 24.21

 

CMYK 42 / 0 / 27 / 1

HEX #91FCB8

RGB 145 252 184

HSL 141.87, 0.95%, 0.78%

LAB 91.28, -45.41, 23.11

 

CMYK 36 / 0 / 20 / 0

HEX #A2FFCB

RGB 162 255 203

HSL 146.45, 1%, 0.82%

LAB 93.24, -38.53, 16.24

 

CMYK 30 / 0 / 13 / 0

HEX #B3FFDE

RGB 179 255 222

HSL 153.95, 1%, 0.85%

LAB 94.47, -30.01, 8.35

 

CMYK 23 / 0 / 5 / 0

HEX #C4FFF1

RGB 196 255 241

HSL 165.76, 1%, 0.88%

LAB 95.83, -21.23, 0.64

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 51 / 0 / 30 / 15

HEX #6AD897

RGB 106 216 151

HSL 144.55, 0.59%, 0.63%

LAB 78.7, -46.14, 22.62

 

CMYK 55 / 0 / 33 / 22

HEX #59C684

RGB 89 198 132

HSL 143.67, 0.49%, 0.56%

LAB 72.35, -46.23, 23.86

 

CMYK 60 / 0 / 37 / 29

HEX #48B471

RGB 72 180 113

HSL 142.78, 0.43%, 0.49%

LAB 65.91, -46.2, 25.2

 

CMYK 66 / 0 / 42 / 36

HEX #37A25E

RGB 55 162 94

HSL 141.87, 0.49%, 0.43%

LAB 59.4, -45.98, 26.66

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 48 / 0 / 20 / 8

HEX #7AEABB

RGB 122 234 187

HSL 154.82, 0.73%, 0.7%

LAB 85.29, -42.83, 13.05

 

CMYK 48 / 0 / 12 / 8

HEX #7AEACE

RGB 122 234 206

HSL 165, 0.73%, 0.7%

LAB 85.73, -38.68, 3.73

 

CMYK 48 / 0 / 4 / 8

HEX #7AEAE1

RGB 122 234 225

HSL 175.18, 0.73%, 0.7%

LAB 86.22, -34.18, -5.54

 

CMYK 48 / 4 / 0 / 8

HEX #7AE1EA

RGB 122 225 234

HSL 184.82, 0.73%, 0.7%

LAB 83.93, -27.63, -13.69

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 47 / 0 / 27 / 88

HEX #101E16

RGB 16 30 22

HSL 145.71, 0.3%, 0.09%

LAB 9.77, -8.42, 3.58

 

CMYK 47 / 0 / 27 / 68

HEX #2B513B

RGB 43 81 59

HSL 145.26, 0.31%, 0.24%

LAB 31.15, -19.33, 8.8

 

CMYK 48 / 0 / 27 / 48

HEX #458460

RGB 69 132 96

HSL 145.71, 0.31%, 0.39%

LAB 50.23, -29.08, 13.29

 

CMYK 48 / 0 / 27 / 28

HEX #60B785

RGB 96 183 133

HSL 145.52, 0.38%, 0.55%

LAB 68.06, -37.77, 17.49

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 48 / 29 / 0 / 8

HEX #7AA5EA

RGB 122 165 234

HSL 216.96, 0.73%, 0.7%

LAB 67.27, 3.96, -39.18

 

CMYK 0 / 47 / 48 / 8

HEX #EA7C7A

RGB 234 124 122

HSL 1.07, 0.73%, 0.7%

LAB 64.41, 42.08, 20.42

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 28 / 48 / 0 / 8

HEX #A97AEA

RGB 169 122 234

HSL 265.18, 0.73%, 0.7%

LAB 60.15, 40.65, -50.14

 

CMYK 0 / 28 / 48 / 8

HEX #EAA97A

RGB 234 169 122

HSL 25.18, 0.73%, 0.7%

LAB 74.36, 18.47, 33.63

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 48 / 29 / 0 / 8

HEX #7AA5EA

RGB 122 165 234

HSL 216.96, 0.73%, 0.7%

LAB 67.27, 3.96, -39.18

 

CMYK 0 / 48 / 20 / 8

HEX #EA7ABB

RGB 234 122 187

HSL 325.18, 0.73%, 0.7%

LAB 65.75, 50.89, -14.52

 

CMYK 0 / 18 / 48 / 8

HEX #EABF7A

RGB 234 191 122

HSL 36.96, 0.73%, 0.7%

LAB 79.7, 6.84, 40.46

 

CMYK 47 / 0 / 27 / 8

HEX #7BEAAA

RGB 123 234 170

HSL 145.41, 0.73%, 0.7%

LAB 84.98, -45.98, 21.46

 

CMYK 48 / 44 / 0 / 8

HEX #7A83EA

RGB 122 131 234

HSL 235.18, 0.73%, 0.7%

LAB 58.33, 23.76, -53.28

 

CMYK 0 / 48 / 20 / 8

HEX #EA7ABB

RGB 234 122 187

HSL 325.18, 0.73%, 0.7%

LAB 65.75, 50.89, -14.52

 

CMYK 0 / 4 / 48 / 8

HEX #EAE17A

RGB 234 225 122

HSL 55.18, 0.73%, 0.7%

LAB 88.33, -10.6, 51.1

 

Description

Color code: RGB 123 234 170 | qconv.com Color code: RGB 123 234 170 | 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, 123 red, 234 green and 170 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.
123 234 170 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 47 cyan, none magenta, 27 yellow and 8 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.
47% 0% 27% 8% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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