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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 201 23 47 it is the complementary color RGB 54 232 208. 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 201 23 47. 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 201 23 47 shade: RGB 206 23 42, RGB 223 41 61, RGB 240 59 80, RGB 255 77 99 and RGB 255 95 118

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 201 23 47. 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 201 23 47 shade: RGB 201 23 47, RGB 184 5 28, RGB 167 0 9, RGB 150 0 0 and RGB 133 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 201 23 47 shade: RGB 200 23 47 and RGB 200 23 23

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 201 23 47 shade: RGB 200 23 47, RGB 200 23 95, RGB 200 23 143, RGB 200 23 190 and RGB 162 23 200

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 201 23 47 shade matches the following richer shades: RGB 200 23 47 and RGB 218 5 34

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 201 23 47 shade: RGB 200 23 47, RGB 182 41 60, RGB 164 59 73, RGB 146 78 87 and RGB 128 96 100

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 201 23 47 shade: RGB 200 23 144, RGB 200 23 97, RGB 200 23 50, RGB 200 44 23 and RGB 200 91 23

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 201 23 47 shade: RGB 126 14 30, RGB 163 19 38, RGB 200 23 47, RGB 229 36 62 and RGB 233 73 94

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 201 23 47 shade: RGB 201 23 47, RGB 191 200 23 and RGB 23 121 200

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 201 23 47 shade: RGB 201 23 47, RGB 50 200 23 and RGB 23 50 200

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 201 23 47 shade: RGB 201 23 47, RGB 191 200 23, RGB 23 200 174 and RGB 32 23 200

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 201 23 47 shade: RGB 201 23 47, RGB 138 200 23, RGB 23 200 174 and RGB 85 23 200

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 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

Complementary color

CMYK 77 / 0 / 10 / 9

HEX #36E8D0

RGB 54 232 208

HSL 171.91, 0.79%, 0.56%

LAB 83.47, -48.63, -0.82

 

CMYK 0 / 89 / 80 / 19

HEX #CE172A

RGB 206 23 42

HSL 353.77, 0.8%, 0.45%

LAB 44.09, 66.3, 40.05

 

CMYK 0 / 82 / 73 / 13

HEX #DF293D

RGB 223 41 61

HSL 353.41, 0.74%, 0.52%

LAB 49.02, 67.82, 35.48

 

CMYK 0 / 75 / 67 / 6

HEX #F03B50

RGB 240 59 80

HSL 353.04, 0.86%, 0.59%

LAB 54.27, 68.48, 31.44

 

CMYK 0 / 70 / 61 / 0

HEX #FF4D63

RGB 255 77 99

HSL 352.58, 1%, 0.65%

LAB 59.41, 67.95, 27.47

 

CMYK 0 / 63 / 54 / 0

HEX #FF5F76

RGB 255 95 118

HSL 351.38, 1%, 0.69%

LAB 62.3, 62.34, 20.34

 

CMYK 0 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

CMYK 0 / 97 / 85 / 28

HEX #B8051C

RGB 184 5 28

HSL 352.29, 0.95%, 0.37%

LAB 38.52, 62.55, 40.82

 

CMYK 0 / 100 / 95 / 35

HEX #A70009

RGB 167 0 9

HSL 356.77, 1%, 0.33%

LAB 34.47, 58.46, 45.05

 

CMYK 0 / 100 / 100 / 41

HEX #960000

RGB 150 0 0

HSL 0, 1%, 0.29%

LAB 30.6, 53.92, 44.34

 

CMYK 0 / 100 / 100 / 48

HEX #850000

RGB 133 0 0

HSL 0, 1%, 0.26%

LAB 26.7, 49.4, 39.55

 

CMYK 0 / 89 / 77 / 22

HEX #C8172F

RGB 200 23 47

HSL 351.86, 0.79%, 0.44%

LAB 42.91, 64.89, 35.54

 

CMYK 0 / 89 / 89 / 22

HEX #C81717

RGB 200 23 23

HSL 0, 0.79%, 0.44%

LAB 42.69, 64.26, 48.15

 

CMYK 0 / 89 / 77 / 22

HEX #C8172F

RGB 200 23 47

HSL 351.86, 0.79%, 0.44%

LAB 42.91, 64.89, 35.54

 

CMYK 0 / 89 / 53 / 22

HEX #C8175F

RGB 200 23 95

HSL 335.59, 0.79%, 0.44%

LAB 43.83, 67.5, 7.01

 

CMYK 0 / 89 / 29 / 22

HEX #C8178F

RGB 200 23 143

HSL 319.32, 0.79%, 0.44%

LAB 45.46, 72, -20.18

 

CMYK 0 / 89 / 5 / 22

HEX #C817BE

RGB 200 23 190

HSL 303.39, 0.79%, 0.44%

LAB 47.76, 78.06, -44.53

 

CMYK 19 / 89 / 0 / 22

HEX #A217C8

RGB 162 23 200

HSL 287.12, 0.79%, 0.44%

LAB 41.94, 73.27, -60.05

 

CMYK 0 / 89 / 77 / 22

HEX #C8172F

RGB 200 23 47

HSL 351.86, 0.79%, 0.44%

LAB 42.91, 64.89, 35.54

 

CMYK 0 / 98 / 84 / 15

HEX #DA0522

RGB 218 5 34

HSL 351.83, 0.96%, 0.44%

LAB 45.81, 71.17, 46.9

 

CMYK 0 / 89 / 77 / 22

HEX #C8172F

RGB 200 23 47

HSL 351.86, 0.79%, 0.44%

LAB 42.91, 64.89, 35.54

 

CMYK 0 / 77 / 67 / 29

HEX #B6293C

RGB 182 41 60

HSL 351.91, 0.63%, 0.44%

LAB 40.99, 56.15, 24.49

 

CMYK 0 / 64 / 55 / 36

HEX #A43B49

RGB 164 59 73

HSL 352, 0.47%, 0.44%

LAB 40.41, 44.38, 15.02

 

CMYK 0 / 47 / 40 / 43

HEX #924E57

RGB 146 78 87

HSL 352.06, 0.3%, 0.44%

LAB 41.61, 29.48, 7.54

 

CMYK 0 / 25 / 22 / 50

HEX #806064

RGB 128 96 100

HSL 352.5, 0.14%, 0.44%

LAB 44.05, 13.64, 2.78

 

CMYK 0 / 89 / 28 / 22

HEX #C81790

RGB 200 23 144

HSL 318.98, 0.79%, 0.44%

LAB 45.5, 72.12, -20.72

 

CMYK 0 / 89 / 52 / 22

HEX #C81761

RGB 200 23 97

HSL 334.92, 0.79%, 0.44%

LAB 43.88, 67.65, 5.83

 

CMYK 0 / 89 / 75 / 22

HEX #C81732

RGB 200 23 50

HSL 350.85, 0.79%, 0.44%

LAB 42.95, 65, 33.8

 

CMYK 0 / 78 / 89 / 22

HEX #C82C17

RGB 200 44 23

HSL 7.12, 0.79%, 0.44%

LAB 44.44, 59.32, 49.49

 

CMYK 0 / 55 / 89 / 22

HEX #C85B17

RGB 200 91 23

HSL 23.05, 0.79%, 0.44%

LAB 51.64, 40.02, 55.05

 

CMYK 0 / 89 / 76 / 51

HEX #7E0E1E

RGB 126 14 30

HSL 351.43, 0.8%, 0.27%

LAB 26.28, 45.6, 23.02

 

CMYK 0 / 88 / 77 / 36

HEX #A31326

RGB 163 19 38

HSL 352.08, 0.79%, 0.36%

LAB 34.79, 55.36, 29.77

 

CMYK 0 / 89 / 77 / 22

HEX #C8172F

RGB 200 23 47

HSL 351.86, 0.79%, 0.44%

LAB 42.91, 64.89, 35.54

 

CMYK 0 / 84 / 73 / 10

HEX #E5243E

RGB 229 36 62

HSL 351.92, 0.79%, 0.52%

LAB 49.82, 70.58, 36.12

 

CMYK 0 / 69 / 60 / 9

HEX #E9495E

RGB 233 73 94

HSL 352.13, 0.78%, 0.6%

LAB 54.97, 62.48, 23.86

 

CMYK 0 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

CMYK 5 / 0 / 89 / 22

HEX #BFC817

RGB 191 200 23

HSL 63.05, 0.79%, 0.44%

LAB 77.55, -21.49, 75.13

 

CMYK 89 / 40 / 0 / 22

HEX #1779C8

RGB 23 121 200

HSL 206.78, 0.79%, 0.44%

LAB 49.53, 2.62, -48.39

 

CMYK 0 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

CMYK 75 / 0 / 89 / 22

HEX #32C817

RGB 50 200 23

HSL 110.85, 0.79%, 0.44%

LAB 70.9, -67.02, 66.91

 

CMYK 89 / 75 / 0 / 22

HEX #1732C8

RGB 23 50 200

HSL 230.85, 0.79%, 0.44%

LAB 30.96, 47.87, -78.6

 

CMYK 0 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

CMYK 5 / 0 / 89 / 22

HEX #BFC817

RGB 191 200 23

HSL 63.05, 0.79%, 0.44%

LAB 77.55, -21.49, 75.13

 

CMYK 89 / 0 / 13 / 22

HEX #17C8AE

RGB 23 200 174

HSL 171.19, 0.79%, 0.44%

LAB 72.59, -46.63, 1.45

 

CMYK 84 / 89 / 0 / 22

HEX #2017C8

RGB 32 23 200

HSL 243.05, 0.79%, 0.44%

LAB 26.99, 60.76, -85.19

 

CMYK 0 / 89 / 77 / 21

HEX #C9172F

RGB 201 23 47

HSL 351.91, 0.79%, 0.44%

LAB 43.12, 65.15, 35.82

 

CMYK 31 / 0 / 89 / 22

HEX #8AC817

RGB 138 200 23

HSL 81.02, 0.79%, 0.44%

LAB 74.04, -42.88, 70.83

 

CMYK 89 / 0 / 13 / 22

HEX #17C8AE

RGB 23 200 174

HSL 171.19, 0.79%, 0.44%

LAB 72.59, -46.63, 1.45

 

CMYK 58 / 89 / 0 / 22

HEX #5517C8

RGB 85 23 200

HSL 261.02, 0.79%, 0.44%

LAB 31.15, 63.81, -78.16

 

Description

Color code: RGB 201 23 47 | qconv.com Color code: RGB 201 23 47 | 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, 201 red, 23 green and 47 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.
201 23 47 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, 89 magenta, 77 yellow and 21 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% 89% 77% 21% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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