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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 211 23 19 it is the complementary color RGB 44 232 236. 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 211 23 19. 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 211 23 19 shade: RGB 216 23 14, RGB 233 41 33, RGB 250 59 52, RGB 255 77 71 and RGB 255 95 90

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 211 23 19. 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 211 23 19 shade: RGB 211 23 19, RGB 194 5 0, RGB 177 0 0, RGB 160 0 0 and RGB 143 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 211 23 19 shade: RGB 210 23 20 and RGB 210 20 20

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 211 23 19 shade: RGB 210 23 20, RGB 210 75 20, RGB 210 126 20, RGB 210 178 20 and RGB 191 210 20

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 211 23 19 shade matches the following richer shades: RGB 210 23 20 and RGB 229 6 1

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 211 23 19 shade: RGB 210 23 20, RGB 191 41 38, RGB 173 59 57, RGB 154 77 75 and RGB 136 95 94

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 211 23 19 shade: RGB 210 20 118, RGB 210 20 67, RGB 210 23 20, RGB 210 73 20 and RGB 210 124 20

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 211 23 19 shade: RGB 134 15 12, RGB 172 19 16, RGB 210 23 20, RGB 235 40 36 and RGB 238 77 74

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 211 23 19 shade: RGB 211 23 19, RGB 169 210 20 and RGB 20 93 210

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 211 23 19 shade: RGB 211 23 19, RGB 20 210 23 and RGB 23 20 210

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 211 23 19 shade: RGB 211 23 19, RGB 169 210 20, RGB 20 207 210 and RGB 61 20 210

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 211 23 19 shade: RGB 211 23 19, RGB 112 210 20, RGB 20 207 210 and RGB 118 20 210

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 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

Complementary color

CMYK 81 / 2 / 0 / 7

HEX #2CE8EC

RGB 44 232 236

HSL 181.25, 0.83%, 0.55%

LAB 84.12, -41.77, -14.65

 

CMYK 0 / 89 / 94 / 15

HEX #D8170E

RGB 216 23 14

HSL 2.67, 0.88%, 0.45%

LAB 45.97, 68.37, 55.47

 

CMYK 0 / 82 / 86 / 9

HEX #E92921

RGB 233 41 33

HSL 2.4, 0.82%, 0.52%

LAB 50.71, 69.72, 52.77

 

CMYK 0 / 76 / 79 / 2

HEX #FA3B34

RGB 250 59 52

HSL 2.12, 0.95%, 0.59%

LAB 55.79, 70.23, 49.26

 

CMYK 0 / 70 / 72 / 0

HEX #FF4D47

RGB 255 77 71

HSL 1.96, 1%, 0.64%

LAB 59, 66.53, 42.82

 

CMYK 0 / 63 / 65 / 0

HEX #FF5F5A

RGB 255 95 90

HSL 1.82, 1%, 0.68%

LAB 61.81, 60.49, 35.64

 

CMYK 0 / 89 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

CMYK 0 / 97 / 100 / 24

HEX #C20500

RGB 194 5 0

HSL 1.55, 1%, 0.38%

LAB 40.54, 64.7, 54.78

 

CMYK 0 / 100 / 100 / 31

HEX #B10000

RGB 177 0 0

HSL 0, 1%, 0.35%

LAB 36.64, 60.91, 51.04

 

CMYK 0 / 100 / 100 / 37

HEX #A00000

RGB 160 0 0

HSL 0, 1%, 0.31%

LAB 32.86, 56.54, 46.95

 

CMYK 0 / 100 / 100 / 44

HEX #8F0000

RGB 143 0 0

HSL 0, 1%, 0.28%

LAB 29, 52.07, 42.42

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 90 / 90 / 18

HEX #D21414

RGB 210 20 20

HSL 0, 0.83%, 0.45%

LAB 44.59, 67.32, 51.77

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 64 / 90 / 18

HEX #D24B14

RGB 210 75 20

HSL 17.37, 0.83%, 0.45%

LAB 50.43, 51.11, 55.88

 

CMYK 0 / 40 / 90 / 18

HEX #D27E14

RGB 210 126 20

HSL 33.47, 0.83%, 0.45%

LAB 60.49, 25.8, 63.27

 

CMYK 0 / 15 / 90 / 18

HEX #D2B214

RGB 210 178 20

HSL 49.89, 0.83%, 0.45%

LAB 73.28, -2.11, 73

 

CMYK 9 / 0 / 90 / 18

HEX #BFD214

RGB 191 210 20

HSL 66, 0.83%, 0.45%

LAB 80.3, -26.39, 77.8

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 97 / 100 / 10

HEX #E50601

RGB 229 6 1

HSL 1.32, 0.99%, 0.45%

LAB 47.99, 73.38, 61.73

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 79 / 80 / 25

HEX #BF2926

RGB 191 41 38

HSL 1.18, 0.67%, 0.45%

LAB 42.46, 57.89, 39.65

 

CMYK 0 / 66 / 67 / 32

HEX #AD3B39

RGB 173 59 57

HSL 1.03, 0.5%, 0.45%

LAB 41.7, 46.37, 26.84

 

CMYK 0 / 50 / 51 / 40

HEX #9A4D4B

RGB 154 77 75

HSL 1.52, 0.34%, 0.45%

LAB 42.29, 31.86, 16.05

 

CMYK 0 / 30 / 31 / 47

HEX #885F5E

RGB 136 95 94

HSL 1.43, 0.18%, 0.45%

LAB 44.56, 16.58, 7.26

 

CMYK 0 / 90 / 44 / 18

HEX #D21476

RGB 210 20 118

HSL 329.05, 0.83%, 0.45%

LAB 46.32, 72.16, -3.41

 

CMYK 0 / 90 / 68 / 18

HEX #D21443

RGB 210 20 67

HSL 345.16, 0.83%, 0.45%

LAB 45.09, 68.74, 26.52

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 65 / 90 / 18

HEX #D24914

RGB 210 73 20

HSL 16.74, 0.83%, 0.45%

LAB 50.12, 51.95, 55.65

 

CMYK 0 / 41 / 90 / 18

HEX #D27C14

RGB 210 124 20

HSL 32.84, 0.83%, 0.45%

LAB 60.04, 26.87, 62.94

 

CMYK 0 / 89 / 91 / 47

HEX #860F0C

RGB 134 15 12

HSL 1.48, 0.84%, 0.29%

LAB 27.94, 47.17, 35.79

 

CMYK 0 / 89 / 91 / 33

HEX #AC1310

RGB 172 19 16

HSL 1.15, 0.83%, 0.37%

LAB 36.51, 57.26, 44.05

 

CMYK 0 / 89 / 90 / 18

HEX #D21714

RGB 210 23 20

HSL 0.95, 0.83%, 0.45%

LAB 44.75, 66.87, 51.88

 

CMYK 0 / 83 / 85 / 8

HEX #EB2824

RGB 235 40 36

HSL 1.21, 0.83%, 0.53%

LAB 51.04, 70.55, 51.8

 

CMYK 0 / 68 / 69 / 7

HEX #EE4D4A

RGB 238 77 74

HSL 1.1, 0.83%, 0.61%

LAB 56.07, 61.39, 36.99

 

CMYK 0 / 89 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

CMYK 20 / 0 / 90 / 18

HEX #A9D214

RGB 169 210 20

HSL 72.95, 0.83%, 0.45%

LAB 78.8, -35.38, 75.96

 

CMYK 90 / 56 / 0 / 18

HEX #145DD2

RGB 20 93 210

HSL 216.95, 0.83%, 0.45%

LAB 42.2, 24.26, -65.94

 

CMYK 0 / 89 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

CMYK 90 / 0 / 89 / 18

HEX #14D217

RGB 20 210 23

HSL 120.95, 0.83%, 0.45%

LAB 73.74, -73.05, 69.22

 

CMYK 89 / 90 / 0 / 18

HEX #1714D2

RGB 23 20 210

HSL 240.95, 0.83%, 0.45%

LAB 27.67, 64.23, -89.9

 

CMYK 0 / 89 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

CMYK 20 / 0 / 90 / 18

HEX #A9D214

RGB 169 210 20

HSL 72.95, 0.83%, 0.45%

LAB 78.8, -35.38, 75.96

 

CMYK 90 / 1 / 0 / 18

HEX #14CFD2

RGB 20 207 210

HSL 180.95, 0.83%, 0.45%

LAB 75.72, -39.58, -13.41

 

CMYK 71 / 90 / 0 / 18

HEX #3D14D2

RGB 61 20 210

HSL 252.95, 0.83%, 0.45%

LAB 29.78, 65.53, -86.34

 

CMYK 0 / 89 / 91 / 17

HEX #D31713

RGB 211 23 19

HSL 1.25, 0.83%, 0.45%

LAB 44.95, 67.12, 52.51

 

CMYK 47 / 0 / 90 / 18

HEX #70D214

RGB 112 210 20

HSL 90.95, 0.83%, 0.45%

LAB 75.82, -55.88, 72.29

 

CMYK 90 / 1 / 0 / 18

HEX #14CFD2

RGB 20 207 210

HSL 180.95, 0.83%, 0.45%

LAB 75.72, -39.58, -13.41

 

CMYK 44 / 90 / 0 / 18

HEX #7614D2

RGB 118 20 210

HSL 270.95, 0.83%, 0.45%

LAB 35.99, 70.05, -75.85

 

Description

Color code: RGB 211 23 19 | qconv.com Color code: RGB 211 23 19 | 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, 211 red, 23 green and 19 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.
211 23 19 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, 91 yellow and 17 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% 91% 17% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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