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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 212.14 54 18 it is the complementary color RGB 42.86 201 237. 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 212.14 54 18. 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 212.14 54 18 shade: RGB 217.14 54 13, RGB 234.14 72 32, RGB 251.14 90 51, RGB 255 108 70 and RGB 255 126 89

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 212.14 54 18. 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 212.14 54 18 shade: RGB 212.14 54 18, RGB 195.14 36 0, RGB 178.14 18 0, RGB 161.14 0 0 and RGB 144.14 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 212.14 54 18 shade: RGB 211 54 18 and RGB 211 18 18

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 212.14 54 18 shade: RGB 211 54 18, RGB 211 106 18, RGB 211 158 18, RGB 211 210 18 and RGB 160 211 18

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 212.14 54 18 shade matches the following richer shades: RGB 211 54 18

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 212.14 54 18 shade: RGB 211 54 18, RGB 193 66 37, RGB 174 77 55, RGB 155 89 74 and RGB 137 101 93

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 212.14 54 18 shade: RGB 211 18 86, RGB 211 18 34, RGB 211 54 18, RGB 211 105 18 and RGB 211 157 18

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 212.14 54 18 shade: RGB 135 35 12, RGB 173 44 15, RGB 211 54 18, RGB 236 72 35 and RGB 239 104 73

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 212.14 54 18 shade: RGB 212.14 54 18, RGB 137 211 18 and RGB 18 60 211

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 212.14 54 18 shade: RGB 212.14 54 18, RGB 18 211 54 and RGB 54 18 211

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 212.14 54 18 shade: RGB 212.14 54 18, RGB 137 211 18, RGB 18 176 211 and RGB 92 18 211

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 212.14 54 18 shade: RGB 212.14 54 18, RGB 79 211 18, RGB 18 176 211 and RGB 150 18 211

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 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

Complementary color

CMYK 82 / 15 / 0 / 7

HEX #2AC9ED

RGB 42.86 201 237

HSL 191.13, 0.84%, 0.55%

LAB 75.08, -26.95, -28.92

 

CMYK 0 / 75 / 94 / 15

HEX #D9360D

RGB 217.14 54 13

HSL 12.05, 0.89%, 0.45%

LAB 48.81, 61.26, 57.57

 

CMYK 0 / 69 / 86 / 8

HEX #EA4820

RGB 234.14 72 32

HSL 11.87, 0.83%, 0.52%

LAB 54.3, 60.61, 56.21

 

CMYK 0 / 64 / 80 / 2

HEX #FB5A33

RGB 251.14 90 51

HSL 11.69, 0.96%, 0.59%

LAB 59.97, 59.6, 53.91

 

CMYK 0 / 58 / 73 / 0

HEX #FF6C46

RGB 255 108 70

HSL 12.32, 1%, 0.64%

LAB 63.69, 53.85, 48.58

 

CMYK 0 / 51 / 65 / 0

HEX #FF7E59

RGB 255 126 89

HSL 13.37, 1%, 0.67%

LAB 67.2, 46.34, 42.72

 

CMYK 0 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

 

CMYK 0 / 82 / 100 / 23

HEX #C32400

RGB 195.14 36 0

HSL 11.07, 1%, 0.38%

LAB 42.59, 59.83, 55.71

 

CMYK 0 / 90 / 100 / 30

HEX #B21200

RGB 178.14 18 0

HSL 6.06, 1%, 0.35%

LAB 37.69, 58.92, 51.64

 

CMYK 0 / 100 / 100 / 37

HEX #A10000

RGB 161.14 0 0

HSL 0, 1%, 0.32%

LAB 33.12, 56.83, 47.24

 

CMYK 0 / 100 / 100 / 43

HEX #900000

RGB 144.14 0 0

HSL 0, 1%, 0.28%

LAB 29.27, 52.38, 42.74

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 91 / 91 / 17

HEX #D31212

RGB 211 18 18

HSL 0, 0.84%, 0.45%

LAB 44.7, 67.83, 52.73

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 50 / 91 / 17

HEX #D36A12

RGB 211 106 18

HSL 27.36, 0.84%, 0.45%

LAB 56.29, 36.71, 60.74

 

CMYK 0 / 25 / 91 / 17

HEX #D39E12

RGB 211 158 18

HSL 43.52, 0.84%, 0.45%

LAB 68.28, 8.93, 69.59

 

CMYK 0 / 0 / 91 / 17

HEX #D3D212

RGB 211 210 18

HSL 59.69, 0.84%, 0.45%

LAB 81.83, -18, 79.92

 

CMYK 24 / 0 / 91 / 17

HEX #A0D312

RGB 160 211 18

HSL 75.85, 0.84%, 0.45%

LAB 78.52, -39.41, 75.79

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 66 / 81 / 24

HEX #C14225

RGB 193 66 37

HSL 11.15, 0.68%, 0.45%

LAB 46.13, 49.41, 43.92

 

CMYK 0 / 56 / 68 / 32

HEX #AE4D37

RGB 174 77 55

HSL 11.09, 0.52%, 0.45%

LAB 45.06, 38.13, 32.09

 

CMYK 0 / 43 / 52 / 39

HEX #9B594A

RGB 155 89 74

HSL 11.11, 0.35%, 0.45%

LAB 45.09, 25.53, 20.42

 

CMYK 0 / 26 / 32 / 46

HEX #89655D

RGB 137 101 93

HSL 10.91, 0.19%, 0.45%

LAB 46.2, 13.32, 10.2

 

CMYK 0 / 91 / 59 / 17

HEX #D31256

RGB 211 18 86

HSL 338.86, 0.84%, 0.45%

LAB 45.57, 70.29, 15.4

 

CMYK 0 / 91 / 84 / 17

HEX #D31222

RGB 211 18 34

HSL 355.03, 0.84%, 0.45%

LAB 44.8, 68.12, 45.44

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 50 / 91 / 17

HEX #D36912

RGB 211 105 18

HSL 27.05, 0.84%, 0.45%

LAB 56.08, 37.22, 60.59

 

CMYK 0 / 26 / 91 / 17

HEX #D39D12

RGB 211 157 18

HSL 43.21, 0.84%, 0.45%

LAB 68.03, 9.46, 69.4

 

CMYK 0 / 74 / 91 / 47

HEX #87230C

RGB 135 35 12

HSL 11.22, 0.84%, 0.29%

LAB 30.35, 41.33, 37.79

 

CMYK 0 / 75 / 91 / 32

HEX #AD2C0F

RGB 173 44 15

HSL 11.01, 0.84%, 0.37%

LAB 39.1, 50.78, 46.42

 

CMYK 0 / 74 / 91 / 17

HEX #D33612

RGB 211 54 18

HSL 11.19, 0.84%, 0.45%

LAB 47.66, 59.44, 54.7

 

CMYK 0 / 69 / 85 / 7

HEX #EC4823

RGB 236 72 35

HSL 11.04, 0.84%, 0.53%

LAB 54.65, 61.27, 55.38

 

CMYK 0 / 56 / 69 / 6

HEX #EF6849

RGB 239 104 73

HSL 11.2, 0.84%, 0.61%

LAB 60.54, 50.15, 42.81

 

CMYK 0 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

 

CMYK 35 / 0 / 91 / 17

HEX #89D312

RGB 137 211 18

HSL 83.01, 0.84%, 0.45%

LAB 77.25, -47.99, 74.23

 

CMYK 91 / 72 / 0 / 17

HEX #123CD3

RGB 18 60 211

HSL 226.94, 0.84%, 0.45%

LAB 34.11, 45.66, -79.78

 

CMYK 0 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

 

CMYK 91 / 0 / 74 / 17

HEX #12D336

RGB 18 211 54

HSL 131.19, 0.84%, 0.45%

LAB 74.18, -71.76, 61.54

 

CMYK 74 / 91 / 0 / 17

HEX #3612D3

RGB 54 18 211

HSL 251.19, 0.84%, 0.45%

LAB 29.21, 65.98, -87.88

 

CMYK 0 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

 

CMYK 35 / 0 / 91 / 17

HEX #89D312

RGB 137 211 18

HSL 83.01, 0.84%, 0.45%

LAB 77.25, -47.99, 74.23

 

CMYK 91 / 17 / 0 / 17

HEX #12B0D3

RGB 18 176 211

HSL 190.88, 0.84%, 0.45%

LAB 66.43, -24.47, -28.08

 

CMYK 56 / 91 / 0 / 17

HEX #5C12D3

RGB 92 18 211

HSL 263.01, 0.84%, 0.45%

LAB 32.72, 68.27, -81.94

 

CMYK 0 / 75 / 92 / 17

HEX #D43612

RGB 212.14 54 18

HSL 11.13, 0.84%, 0.45%

LAB 47.88, 59.79, 54.95

 

CMYK 63 / 0 / 91 / 17

HEX #4FD312

RGB 79 211 18

HSL 101.04, 0.84%, 0.45%

LAB 75.01, -65.12, 71.47

 

CMYK 91 / 17 / 0 / 17

HEX #12B0D3

RGB 18 176 211

HSL 190.88, 0.84%, 0.45%

LAB 66.43, -24.47, -28.08

 

CMYK 29 / 91 / 0 / 17

HEX #9612D3

RGB 150 18 211

HSL 281.04, 0.84%, 0.45%

LAB 40.61, 74.44, -68.69

 

Description

Color code: RGB 212.14 54 18 | qconv.com Color code: RGB 212.14 54 18 | 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, 212.14 red, 54 green and 18 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.
212.14 54 18 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, 75 magenta, 92 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% 75% 92% 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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