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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 170 17 28 it is the complementary color RGB 85 238 227. 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 170 17 28. 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 RGB 170 17 28 shade: RGB 175 17 23, RGB 192 35 42, RGB 209 53 61, RGB 226 71 80 and RGB 243 89 99

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 170 17 28. 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 RGB 170 17 28 shade: RGB 170 17 28, RGB 153 0 9, RGB 136 0 0, RGB 119 0 0 and RGB 102 0 0

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 RGB 170 17 28 shade: RGB 172 17 28 and RGB 172 17 17

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 RGB 170 17 28 shade: RGB 172 17 28, RGB 172 17 70, RGB 172 17 112, RGB 172 17 153 and RGB 148 17 172

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 RGB 170 17 28 shade matches the following richer shades: RGB 172 17 28 and RGB 187 2 15

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 RGB 170 17 28 shade: RGB 172 17 28, RGB 156 32 41, RGB 141 48 54, RGB 126 63 67 and RGB 111 78 80

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 RGB 170 17 28 shade: RGB 172 17 112, RGB 172 17 71, RGB 172 17 30, RGB 172 45 17 and RGB 172 87 17

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 RGB 170 17 28 shade: RGB 97 10 16, RGB 134 13 22, RGB 172 17 28, RGB 209 21 34 and RGB 234 38 52

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 RGB 170 17 28 shade: RGB 170 17 28, RGB 154 172 17 and RGB 17 92 172

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 RGB 170 17 28 shade: RGB 170 17 28, RGB 30 172 17 and RGB 17 30 172

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 RGB 170 17 28 shade: RGB 170 17 28, RGB 154 172 17, RGB 17 172 159 and RGB 35 17 172

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 RGB 170 17 28 shade: RGB 170 17 28, RGB 107 172 17, RGB 17 172 159 and RGB 81 17 172

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 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

Complementary color

CMYK 64 / 0 / 5 / 7

HEX #55EEE3

RGB 85 238 227

HSL 175.69, 0.82%, 0.63%

LAB 86.32, -42.34, -6.57

 

CMYK 0 / 90 / 87 / 31

HEX #AF1117

RGB 175 17 23

HSL 357.72, 0.82%, 0.38%

LAB 37.07, 58.56, 41.43

 

CMYK 0 / 82 / 78 / 25

HEX #C0232A

RGB 192 35 42

HSL 357.32, 0.69%, 0.45%

LAB 42.12, 59.97, 37.11

 

CMYK 0 / 75 / 71 / 18

HEX #D1353D

RGB 209 53 61

HSL 356.92, 0.63%, 0.51%

LAB 47.54, 60.41, 33.07

 

CMYK 0 / 69 / 65 / 11

HEX #E24750

RGB 226 71 80

HSL 356.52, 0.73%, 0.58%

LAB 53.23, 60.21, 29.59

 

CMYK 0 / 63 / 59 / 5

HEX #F35963

RGB 243 89 99

HSL 356.1, 0.87%, 0.65%

LAB 59.07, 59.64, 26.64

 

CMYK 0 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

CMYK 0 / 100 / 94 / 40

HEX #990009

RGB 153 0 9

HSL 356.47, 1%, 0.3%

LAB 31.33, 54.84, 41.51

 

CMYK 0 / 100 / 100 / 47

HEX #880000

RGB 136 0 0

HSL 0, 1%, 0.27%

LAB 27.39, 50.21, 40.43

 

CMYK 0 / 100 / 100 / 53

HEX #770000

RGB 119 0 0

HSL 0, 1%, 0.23%

LAB 23.41, 45.6, 35.27

 

CMYK 0 / 100 / 100 / 60

HEX #660000

RGB 102 0 0

HSL 0, 1%, 0.2%

LAB 19.33, 40.88, 29.66

 

CMYK 0 / 90 / 84 / 33

HEX #AC111C

RGB 172 17 28

HSL 355.74, 0.82%, 0.37%

LAB 36.47, 57.86, 37.99

 

CMYK 0 / 90 / 90 / 33

HEX #AC1111

RGB 172 17 17

HSL 0, 0.82%, 0.37%

LAB 36.39, 57.63, 43.52

 

CMYK 0 / 90 / 84 / 33

HEX #AC111C

RGB 172 17 28

HSL 355.74, 0.82%, 0.37%

LAB 36.47, 57.86, 37.99

 

CMYK 0 / 90 / 59 / 33

HEX #AC1146

RGB 172 17 70

HSL 339.48, 0.82%, 0.37%

LAB 37.14, 59.77, 12.72

 

CMYK 0 / 90 / 35 / 33

HEX #AC1170

RGB 172 17 112

HSL 323.23, 0.82%, 0.37%

LAB 38.45, 63.39, -12.24

 

CMYK 0 / 90 / 11 / 33

HEX #AC1199

RGB 172 17 153

HSL 307.35, 0.82%, 0.37%

LAB 40.36, 68.47, -34.59

 

CMYK 14 / 90 / 0 / 33

HEX #9411AC

RGB 148 17 172

HSL 290.71, 0.82%, 0.37%

LAB 37.25, 67.16, -51.24

 

CMYK 0 / 90 / 84 / 33

HEX #AC111C

RGB 172 17 28

HSL 355.74, 0.82%, 0.37%

LAB 36.47, 57.86, 37.99

 

CMYK 0 / 99 / 92 / 27

HEX #BB020F

RGB 187 2 15

HSL 355.78, 0.98%, 0.37%

LAB 38.97, 63.4, 47.7

 

CMYK 0 / 90 / 84 / 33

HEX #AC111C

RGB 172 17 28

HSL 355.74, 0.82%, 0.37%

LAB 36.47, 57.86, 37.99

 

CMYK 0 / 79 / 74 / 39

HEX #9C2029

RGB 156 32 41

HSL 355.65, 0.66%, 0.37%

LAB 34.52, 50.18, 27.23

 

CMYK 0 / 66 / 62 / 45

HEX #8D3036

RGB 141 48 54

HSL 356.13, 0.49%, 0.37%

LAB 34.07, 39.84, 17.84

 

CMYK 0 / 50 / 47 / 51

HEX #7E3F43

RGB 126 63 67

HSL 356.19, 0.33%, 0.37%

LAB 34.79, 27.6, 10.1

 

CMYK 0 / 30 / 28 / 56

HEX #6F4E50

RGB 111 78 80

HSL 356.36, 0.17%, 0.37%

LAB 36.76, 14.23, 4.36

 

CMYK 0 / 90 / 35 / 33

HEX #AC1170

RGB 172 17 112

HSL 323.23, 0.82%, 0.37%

LAB 38.45, 63.39, -12.24

 

CMYK 0 / 90 / 59 / 33

HEX #AC1147

RGB 172 17 71

HSL 339.1, 0.82%, 0.37%

LAB 37.16, 59.83, 12.11

 

CMYK 0 / 90 / 83 / 33

HEX #AC111E

RGB 172 17 30

HSL 354.97, 0.82%, 0.37%

LAB 36.49, 57.92, 36.89

 

CMYK 0 / 74 / 90 / 33

HEX #AC2D11

RGB 172 45 17

HSL 10.84, 0.82%, 0.37%

LAB 39.05, 50.13, 45.5

 

CMYK 0 / 49 / 90 / 33

HEX #AC5711

RGB 172 87 17

HSL 27.1, 0.82%, 0.37%

LAB 46.48, 30.64, 51.15

 

CMYK 0 / 90 / 84 / 62

HEX #610A10

RGB 97 10 16

HSL 355.86, 0.81%, 0.21%

LAB 19.21, 37.22, 22.25

 

CMYK 0 / 90 / 84 / 47

HEX #860D16

RGB 134 13 22

HSL 355.54, 0.82%, 0.29%

LAB 27.88, 47.83, 30.3

 

CMYK 0 / 90 / 84 / 33

HEX #AC111C

RGB 172 17 28

HSL 355.74, 0.82%, 0.37%

LAB 36.47, 57.86, 37.99

 

CMYK 0 / 90 / 84 / 18

HEX #D11522

RGB 209 21 34

HSL 355.85, 0.82%, 0.45%

LAB 44.53, 67.18, 45.04

 

CMYK 0 / 84 / 78 / 8

HEX #EA2634

RGB 234 38 52

HSL 355.71, 0.82%, 0.53%

LAB 50.83, 71.13, 43.22

 

CMYK 0 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

CMYK 10 / 0 / 90 / 33

HEX #9AAC11

RGB 154 172 17

HSL 66.97, 0.82%, 0.37%

LAB 66.84, -23.65, 66.4

 

CMYK 90 / 47 / 0 / 33

HEX #115CAC

RGB 17 92 172

HSL 210.97, 0.82%, 0.37%

LAB 39.16, 9.58, -48.73

 

CMYK 0 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

CMYK 83 / 0 / 90 / 33

HEX #1EAC11

RGB 30 172 17

HSL 114.97, 0.82%, 0.37%

LAB 61.5, -61.53, 59.8

 

CMYK 90 / 83 / 0 / 33

HEX #111EAC

RGB 17 30 172

HSL 234.97, 0.82%, 0.37%

LAB 23.76, 49.04, -73.94

 

CMYK 0 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

CMYK 10 / 0 / 90 / 33

HEX #9AAC11

RGB 154 172 17

HSL 66.97, 0.82%, 0.37%

LAB 66.84, -23.65, 66.4

 

CMYK 90 / 0 / 8 / 33

HEX #11AC9F

RGB 17 172 159

HSL 174.97, 0.82%, 0.37%

LAB 63.45, -39.02, -3.69

 

CMYK 80 / 90 / 0 / 33

HEX #2311AC

RGB 35 17 172

HSL 246.97, 0.82%, 0.37%

LAB 22.78, 55.02, -75.55

 

CMYK 0 / 90 / 84 / 33

HEX #AA111C

RGB 170 17 28

HSL 355.69, 0.82%, 0.37%

LAB 36.04, 57.32, 37.44

 

CMYK 38 / 0 / 90 / 33

HEX #6BAC11

RGB 107 172 17

HSL 85.16, 0.82%, 0.37%

LAB 63.89, -42.5, 62.78

 

CMYK 90 / 0 / 8 / 33

HEX #11AC9F

RGB 17 172 159

HSL 174.97, 0.82%, 0.37%

LAB 63.45, -39.02, -3.69

 

CMYK 53 / 90 / 0 / 33

HEX #5111AC

RGB 81 17 172

HSL 264.77, 0.82%, 0.37%

LAB 27.1, 58.19, -68.26

 

Description

Color code: RGB 170 17 28 | qconv.com Color code: RGB 170 17 28 | qconv.com - big

Red clearly dominates: The red value is significantly higher than green and blue. Dark color: low color values appear darker.

The breakdown of the color into the RGB color system: of 255 maximum color components, 170 red, 17 green and 28 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.
170 17 28 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, 90 magenta, 84 yellow and 33 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% 90% 84% 33% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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