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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 250.14 108 17 it is the complementary color RGB 4.86 147 238. 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 250.14 108 17. 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 250.14 108 17 shade: RGB 255 108 12, RGB 255 126 31, RGB 255 144 50, RGB 255 162 69 and RGB 255 180 88

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 250.14 108 17. 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 250.14 108 17 shade: RGB 250.14 108 17, RGB 233.14 90 0, RGB 216.14 72 0, RGB 199.14 54 0 and RGB 182.14 36 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 250.14 108 17 shade: RGB 250 107 15, RGB 250 43 15 and RGB 250 15 15

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 250.14 108 17 shade: RGB 250 107 15, RGB 250 170 15, RGB 250 234 15, RGB 203 250 15 and RGB 140 250 15

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 250.14 108 17 shade matches the following richer shades: RGB 250 107 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 250.14 108 17 shade: RGB 250 107 15, RGB 230 111 35, RGB 210 116 55, RGB 191 120 75 and RGB 171 124 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 250.14 108 17 shade: RGB 250 15 50, RGB 250 43 15, RGB 250 105 15, RGB 250 168 15 and RGB 250 231 15

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 250.14 108 17 shade: RGB 179 72 4, RGB 219 88 4, RGB 250 107 15, RGB 251 132 56 and RGB 252 157 96

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 250.14 108 17 shade: RGB 250.14 108 17, RGB 113 250 15 and RGB 15 19 250

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 250.14 108 17 shade: RGB 250.14 108 17, RGB 15 250 105 and RGB 105 15 250

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 250.14 108 17 shade: RGB 250.14 108 17, RGB 113 250 15, RGB 15 160 250 and RGB 152 15 250

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 250.14 108 17 shade: RGB 250.14 108 17, RGB 43 250 15, RGB 15 160 250 and RGB 223 15 250

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 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

Complementary color

CMYK 98 / 38 / 0 / 7

HEX #0493EE

RGB 4.86 147 238

HSL 203.42, 0.96%, 0.48%

LAB 59.04, 0.82, -54.59

 

CMYK 0 / 58 / 95 / 0

HEX #FF6C0C

RGB 255 108 12

HSL 23.7, 1%, 0.52%

LAB 63.35, 52.42, 69.96

 

CMYK 0 / 51 / 88 / 0

HEX #FF7E1F

RGB 255 126 31

HSL 25.45, 1%, 0.56%

LAB 66.73, 44.17, 67.74

 

CMYK 0 / 44 / 80 / 0

HEX #FF9032

RGB 255 144 50

HSL 27.51, 1%, 0.6%

LAB 70.48, 35.62, 64.35

 

CMYK 0 / 36 / 73 / 0

HEX #FFA245

RGB 255 162 69

HSL 30, 1%, 0.64%

LAB 74.53, 27.04, 60.48

 

CMYK 0 / 29 / 65 / 0

HEX #FFB458

RGB 255 180 88

HSL 33.05, 1%, 0.67%

LAB 78.81, 18.62, 56.53

 

CMYK 0 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

CMYK 0 / 61 / 100 / 9

HEX #E95A00

RGB 233.14 90 0

HSL 23.16, 1%, 0.46%

LAB 56.74, 52.54, 66.43

 

CMYK 0 / 67 / 100 / 15

HEX #D84800

RGB 216.14 72 0

HSL 19.99, 1%, 0.42%

LAB 50.98, 54.25, 61.86

 

CMYK 0 / 73 / 100 / 22

HEX #C73600

RGB 199.14 54 0

HSL 16.27, 1%, 0.39%

LAB 45.36, 55.5, 57.38

 

CMYK 0 / 80 / 100 / 29

HEX #B62400

RGB 182.14 36 0

HSL 11.86, 1%, 0.36%

LAB 39.96, 55.99, 53.05

 

CMYK 0 / 57 / 94 / 2

HEX #FA6B0F

RGB 250 107 15

HSL 23.49, 0.96%, 0.52%

LAB 62.4, 51.09, 68.4

 

CMYK 0 / 83 / 94 / 2

HEX #FA2B0F

RGB 250 43 15

HSL 7.15, 0.96%, 0.52%

LAB 54.12, 73.63, 63.4

 

CMYK 0 / 94 / 94 / 2

HEX #FA0F0F

RGB 250 15 15

HSL 0, 0.96%, 0.52%

LAB 52.62, 77.92, 62.58

 

CMYK 0 / 57 / 94 / 2

HEX #FA6B0F

RGB 250 107 15

HSL 23.49, 0.96%, 0.52%

LAB 62.4, 51.09, 68.4

 

CMYK 0 / 32 / 94 / 2

HEX #FAAA0F

RGB 250 170 15

HSL 39.57, 0.96%, 0.52%

LAB 75.52, 19.35, 77.33

 

CMYK 0 / 6 / 94 / 2

HEX #FAEA0F

RGB 250 234 15

HSL 55.91, 0.96%, 0.52%

LAB 91.33, -13.39, 88.87

 

CMYK 19 / 0 / 94 / 2

HEX #CBFA0F

RGB 203 250 15

HSL 72, 0.96%, 0.52%

LAB 92.18, -40, 88.03

 

CMYK 44 / 0 / 94 / 2

HEX #8CFA0F

RGB 140 250 15

HSL 88.09, 0.96%, 0.52%

LAB 88.91, -62.26, 84.06

 

CMYK 0 / 57 / 94 / 2

HEX #FA6B0F

RGB 250 107 15

HSL 23.49, 0.96%, 0.52%

LAB 62.4, 51.09, 68.4

 

CMYK 0 / 57 / 94 / 2

HEX #FA6B0F

RGB 250 107 15

HSL 23.49, 0.96%, 0.52%

LAB 62.4, 51.09, 68.4

 

CMYK 0 / 52 / 85 / 10

HEX #E66F23

RGB 230 111 35

HSL 23.38, 0.8%, 0.52%

LAB 60.17, 42.02, 59.62

 

CMYK 0 / 45 / 74 / 18

HEX #D27437

RGB 210 116 55

HSL 23.61, 0.63%, 0.52%

LAB 58.48, 32.2, 48.46

 

CMYK 0 / 37 / 61 / 25

HEX #BF784B

RGB 191 120 75

HSL 23.28, 0.48%, 0.52%

LAB 57.09, 23.37, 35.99

 

CMYK 0 / 27 / 45 / 33

HEX #AB7C5E

RGB 171 124 94

HSL 23.38, 0.31%, 0.52%

LAB 55.97, 14.46, 23.55

 

CMYK 0 / 94 / 80 / 2

HEX #FA0F32

RGB 250 15 50

HSL 351.06, 0.96%, 0.52%

LAB 52.84, 78.52, 47.38

 

CMYK 0 / 83 / 94 / 2

HEX #FA2B0F

RGB 250 43 15

HSL 7.15, 0.96%, 0.52%

LAB 54.12, 73.63, 63.4

 

CMYK 0 / 58 / 94 / 2

HEX #FA690F

RGB 250 105 15

HSL 22.98, 0.96%, 0.52%

LAB 62.05, 52.01, 68.18

 

CMYK 0 / 33 / 94 / 2

HEX #FAA80F

RGB 250 168 15

HSL 39.06, 0.96%, 0.52%

LAB 75.05, 20.39, 77

 

CMYK 0 / 8 / 94 / 2

HEX #FAE70F

RGB 250 231 15

HSL 55.15, 0.96%, 0.52%

LAB 90.56, -11.91, 88.3

 

CMYK 0 / 60 / 98 / 30

HEX #B34804

RGB 179 72 4

HSL 23.31, 0.96%, 0.36%

LAB 44.56, 40.91, 53.86

 

CMYK 0 / 60 / 98 / 14

HEX #DB5804

RGB 219 88 4

HSL 23.44, 0.96%, 0.44%

LAB 54.08, 48.38, 62.9

 

CMYK 0 / 57 / 94 / 2

HEX #FA6B0F

RGB 250 107 15

HSL 23.49, 0.96%, 0.52%

LAB 62.4, 51.09, 68.4

 

CMYK 0 / 47 / 78 / 2

HEX #FB8438

RGB 251 132 56

HSL 23.38, 0.96%, 0.6%

LAB 67.5, 40.32, 58.92

 

CMYK 0 / 38 / 62 / 1

HEX #FC9D60

RGB 252 157 96

HSL 23.46, 0.96%, 0.68%

LAB 73.32, 29.91, 46.27

 

CMYK 0 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

CMYK 55 / 0 / 94 / 2

HEX #71FA0F

RGB 113 250 15

HSL 94.98, 0.96%, 0.52%

LAB 87.93, -69.92, 82.85

 

CMYK 94 / 92 / 0 / 2

HEX #0F13FA

RGB 15 19 250

HSL 238.98, 0.96%, 0.52%

LAB 32.85, 74.88, -104.13

 

CMYK 0 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

CMYK 94 / 0 / 58 / 2

HEX #0FFA69

RGB 15 250 105

HSL 142.98, 0.96%, 0.52%

LAB 86.75, -78.02, 54.96

 

CMYK 58 / 94 / 0 / 2

HEX #690FFA

RGB 105 15 250

HSL 262.98, 0.96%, 0.52%

LAB 38.28, 78.74, -94.93

 

CMYK 0 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

CMYK 55 / 0 / 94 / 2

HEX #71FA0F

RGB 113 250 15

HSL 94.98, 0.96%, 0.52%

LAB 87.93, -69.92, 82.85

 

CMYK 94 / 36 / 0 / 2

HEX #0FA0FA

RGB 15 160 250

HSL 202.98, 0.96%, 0.52%

LAB 63.46, -1.99, -54.15

 

CMYK 39 / 94 / 0 / 2

HEX #980FFA

RGB 152 15 250

HSL 274.98, 0.96%, 0.52%

LAB 44.12, 82.72, -85.1

 

CMYK 0 / 57 / 93 / 2

HEX #FA6C11

RGB 250.14 108 17

HSL 23.42, 0.96%, 0.52%

LAB 62.6, 50.71, 68.12

 

CMYK 83 / 0 / 94 / 2

HEX #2BFA0F

RGB 43 250 15

HSL 112.85, 0.96%, 0.52%

LAB 86.46, -82.36, 81.05

 

CMYK 94 / 36 / 0 / 2

HEX #0FA0FA

RGB 15 160 250

HSL 202.98, 0.96%, 0.52%

LAB 63.46, -1.99, -54.15

 

CMYK 11 / 94 / 0 / 2

HEX #DF0FFA

RGB 223 15 250

HSL 293.11, 0.96%, 0.52%

LAB 55, 91.74, -66.9

 

Description

Color code: RGB 250.14 108 17 | qconv.com Color code: RGB 250.14 108 17 | qconv.com - big

Red clearly dominates: The red value is significantly higher than green and blue. Bright color: high color values create a bright impression.

The breakdown of the color into the RGB color system: of 255 maximum color components, 250.14 red, 108 green and 17 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.
250.14 108 17 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, 57 magenta, 93 yellow and 2 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% 57% 93% 2% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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