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Complementary color
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 177 192 188 it is the complementary color RGB 78 63 67. 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.
Lighter colors
Exposures are based on the same hue and represent lighter versions of the current color RGB 177 192 188. 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 177 192 188 shade: RGB 182 192 183, RGB 199 210 202, RGB 216 228 221, RGB 233 246 240 and RGB 250 255 255
You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.
Darker colors
Shades are based on the same hue and represent a darker version of the current color RGB 177 192 188. 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 177 192 188 shade: RGB 177 192 188, RGB 160 174 169, RGB 143 156 150, RGB 126 138 131 and RGB 109 120 112
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
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 177 192 188 shade: RGB 175 191 187, RGB 175 191 183, RGB 175 191 178, RGB 176 191 175 and RGB 181 191 175
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
Colder colors are created by shifting the hue towards green, blue and violet.
The following colder shades match the RGB 177 192 188 shade: RGB 175 191 187, RGB 175 191 191, RGB 175 187 191, RGB 175 182 191 and RGB 175 178 191
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
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 177 192 188 shade matches the following richer shades: RGB 175 191 187, RGB 164 203 192, RGB 152 214 198, RGB 141 226 203 and RGB 129 237 208
An example is the development from a pale pink to a strong and bright red.
Paler colors
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 177 192 188 shade: RGB 175 191 187, RGB 187 179 181, RGB 198 168 176, RGB 210 156 171 and RGB 221 145 165
An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.
Analogue colors
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 177 192 188 shade: RGB 175 191 178, RGB 175 191 183, RGB 175 191 187, RGB 175 191 191 and RGB 175 187 191
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
Monochromatic colors
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 177 192 188 shade: RGB 129 154 148, RGB 152 173 167, RGB 175 191 187, RGB 198 209 206 and RGB 221 228 226
Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye
Partial complementary colors
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 177 192 188 shade: RGB 177 192 188, RGB 175 176 191 and RGB 191 180 175
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.
Triadic colors
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 177 192 188 shade: RGB 177 192 188, RGB 187 175 191 and RGB 191 187 175
The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.
Rectangular (tetradic) 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 177 192 188 shade: RGB 177 192 188, RGB 175 176 191, RGB 191 175 179 and RGB 191 190 175
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
Square colors
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 177 192 188 shade: RGB 177 192 188, RGB 179 175 191, RGB 191 175 179 and RGB 187 191 175
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
Complementary color
Lighter colors
Darker colors
HSL 164, 0.11%, 0.72%
LAB 76.48, -5.91, 0.24
HSL 158.57, 0.08%, 0.65%
LAB 69.9, -5.86, 0.88
HSL 152.31, 0.06%, 0.59%
LAB 63.19, -5.82, 1.55
HSL 145, 0.05%, 0.52%
LAB 56.34, -5.79, 2.24
HSL 136.36, 0.05%, 0.45%
LAB 49.32, -5.77, 2.98
Warmer colors
Colder colors
Richer colors
Paler colors
Analogue colors
Monochromatic colors
Partial complementary colors
HSL 164, 0.11%, 0.72%
LAB 76.48, -5.91, 0.24
HSL 236.25, 0.11%, 0.72%
LAB 72.18, 2.59, -7.75
HSL 18.75, 0.11%, 0.72%
LAB 74.07, 3.03, 3.94
Triadic colors
HSL 164, 0.11%, 0.72%
LAB 76.48, -5.91, 0.24
HSL 285, 0.11%, 0.72%
LAB 72.88, 7.24, -6.6
HSL 45, 0.11%, 0.72%
LAB 75.89, -0.72, 6.56
Rectangular (tetradic) colors
HSL 164, 0.11%, 0.72%
LAB 76.48, -5.91, 0.24
HSL 236.25, 0.11%, 0.72%
LAB 72.18, 2.59, -7.75
HSL 345, 0.11%, 0.72%
LAB 72.89, 6.43, 0.03
HSL 56.25, 0.11%, 0.72%
LAB 76.68, -2.31, 7.69
Square colors
HSL 164, 0.11%, 0.72%
LAB 76.48, -5.91, 0.24
HSL 255, 0.11%, 0.72%
LAB 72.23, 4.49, -7.64
HSL 345, 0.11%, 0.72%
LAB 72.89, 6.43, 0.03
HSL 75, 0.11%, 0.72%
LAB 76.63, -4.27, 7.58
Description
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, 177 red, 192 green and 188 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.
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 8 cyan, none magenta, 2 yellow and 25 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.
Verification of their color palette as a manufacturer!
Provide designers and agencies with accurate color values.
Popular conversions
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CMYK to HEX
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CMYK to RGB
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CMYK to RAL®
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CMYK to HKS®
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CMYK to PANTONE®
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CMYK to Sherwin Williams®
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HEX to RGB
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HEX to RAL®
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HEX to HKS®
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HEX to PANTONE®
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HEX to Sherwin Williams®
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HEX to NCS®
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RAL® to RGB
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RAL® to CMYK
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RAL® to HEX
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RAL® to HKS®
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RAL® to PANTONE®
convert from RAL®-number (RAL 0000) to Pantone®-number (Pantone 0000)
RAL® to Sherwin Williams®
convert from RAL®-number (RAL 0000) to Sherwin Williams®-number (SW 0000)
RAL® to NCS®
convert from RAL®-number (RAL 0000) to NCS-number (S0000-X00X)
HKS® to RGB
convert from HKS®-number (HKS 00) to RGB red green blue
HKS® to CMYK
convert from HKS®-number (HKS 00) to CMYK cyan / magenta / yellow / black
HKS® to HEX
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HKS® to RAL®
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HKS® to PANTONE®
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HKS® to Sherwin Williams®
convert from HKS®-number (HKS 00) to Sherwin Williams®-number (SW 0000)
HKS® to NCS®
convert from HKS®-number (HKS 00) to NCS-number (S0000-X00X)
PANTONE® to RGB
convert from Pantone®-number (Pantone 0000) to RGB red green blue
PANTONE® to CMYK
convert from Pantone®-number (Pantone 0000) to CMYK cyan / magenta / yellow / black
PANTONE® to HEX
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PANTONE® to RAL®
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PANTONE® to HKS®
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PANTONE® to Sherwin Williams®
convert from Pantone®-number (Pantone 0000) to Sherwin Williams®-number (SW 0000)
PANTONE® to NCS®
convert from Pantone®-number (Pantone 0000) to NCS-number (S0000-X00X)
Sherwin Williams® to RGB
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Sherwin Williams® to CMYK
convert from Sherwin Williams®-number (SW 0000) to CMYK cyan / magenta / yellow / black
Sherwin Williams® to HEX
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Sherwin Williams® to RAL®
convert from Sherwin Williams®-number (SW 0000) to RAL®-number (RAL 0000)
Sherwin Williams® to HKS®
convert from Sherwin Williams®-number (SW 0000) to HKS®-number (HKS 00)
Sherwin Williams® to PANTONE®
convert from Sherwin Williams®-number (SW 0000) to Pantone®-number (Pantone 0000)
Sherwin Williams® to NCS®
convert from Sherwin Williams®-number (SW 0000) to NCS-number (S0000-X00X)
NCS® to RGB
convert from NCS-number (S0000-X00X) to RGB red green blue
NCS® to CMYK
convert from NCS-number (S0000-X00X) to CMYK cyan / magenta / yellow / black
NCS® to HEX
convert from NCS-number (S0000-X00X) to #RRGGBB
NCS® to RAL®
convert from NCS-number (S0000-X00X) to RAL®-number (RAL 0000)
NCS® to HKS®
convert from NCS-number (S0000-X00X) to HKS®-number (HKS 00)
NCS® to PANTONE®
convert from NCS-number (S0000-X00X) to Pantone®-number (Pantone 0000)
NCS® to Sherwin Williams®
convert from NCS-number (S0000-X00X) to Sherwin Williams®-number (SW 0000)