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Color name
RGB 250 119 51

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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 250 119 51 it is the complementary color RGB 5 136 204. 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 250 119 51. 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 250 119 51 shade: RGB 255 119 46, RGB 255 137 65, RGB 255 155 84, RGB 255 173 103 and RGB 255 191 122

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 250 119 51. 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 250 119 51 shade: RGB 250 119 51, RGB 233 101 32, RGB 216 83 13, RGB 199 65 0 and RGB 182 47 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 250 119 51 shade: RGB 250 119 51, RGB 250 65 51 and RGB 250 51 51

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 250 119 51 shade: RGB 250 119 51, RGB 250 173 51, RGB 250 226 51, RGB 220 250 51 and RGB 166 250 51

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 250 119 51 shade matches the following richer shades: RGB 250 119 51

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 250 119 51 shade: RGB 250 119 51, RGB 233 124 68, RGB 216 130 85, RGB 199 135 102 and RGB 182 140 119

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 250 119 51 shade: RGB 250 51 91, RGB 250 64 51, RGB 250 117 51, RGB 250 170 51 and RGB 250 223 51

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 250 119 51 shade: RGB 213 76 5, RGB 249 92 11, RGB 250 119 51, RGB 251 146 91 and RGB 252 173 132

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 250 119 51 shade: RGB 250 119 51, RGB 144 250 51 and RGB 51 64 250

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 250 119 51 shade: RGB 250 119 51, RGB 51 250 117 and RGB 117 51 250

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 250 119 51 shade: RGB 250 119 51, RGB 144 250 51, RGB 51 184 250 and RGB 157 51 250

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 250 119 51 shade: RGB 250 119 51, RGB 84 250 51, RGB 51 184 250 and RGB 217 51 250

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 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

Complementary color

CMYK 98 / 33 / 0 / 20

HEX #0588CC

RGB 5 136 204

HSL 200.5, 0.95%, 0.41%

LAB 54.03, -5.61, -43.53

 

CMYK 0 / 53 / 82 / 0

HEX #FF772E

RGB 255 119 46

HSL 20.96, 1%, 0.59%

LAB 65.48, 47.89, 61.42

 

CMYK 0 / 46 / 75 / 0

HEX #FF8941

RGB 255 137 65

HSL 22.74, 1%, 0.63%

LAB 69.14, 39.71, 56.74

 

CMYK 0 / 39 / 67 / 0

HEX #FF9B54

RGB 255 155 84

HSL 24.91, 1%, 0.66%

LAB 73.12, 31.42, 52.07

 

CMYK 0 / 32 / 60 / 0

HEX #FFAD67

RGB 255 173 103

HSL 27.63, 1%, 0.7%

LAB 77.36, 23.23, 47.64

 

CMYK 0 / 25 / 52 / 0

HEX #FFBF7A

RGB 255 191 122

HSL 31.13, 1%, 0.74%

LAB 81.8, 15.29, 43.53

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 57 / 86 / 9

HEX #E96520

RGB 233 101 32

HSL 20.6, 0.82%, 0.52%

LAB 58.73, 47.91, 59.71

 

CMYK 0 / 62 / 94 / 15

HEX #D8530D

RGB 216 83 13

HSL 20.69, 0.89%, 0.45%

LAB 52.75, 49.64, 59.93

 

CMYK 0 / 67 / 100 / 22

HEX #C74100

RGB 199 65 0

HSL 19.6, 1%, 0.39%

LAB 46.87, 51.24, 58.1

 

CMYK 0 / 74 / 100 / 29

HEX #B62F00

RGB 182 47 0

HSL 15.49, 1%, 0.36%

LAB 41.18, 52.44, 53.57

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 74 / 80 / 2

HEX #FA4133

RGB 250 65 51

HSL 4.22, 0.95%, 0.59%

LAB 56.43, 68.37, 50.41

 

CMYK 0 / 80 / 80 / 2

HEX #FA3333

RGB 250 51 51

HSL 0, 0.95%, 0.59%

LAB 55, 72.38, 49

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 31 / 80 / 2

HEX #FAAD33

RGB 250 173 51

HSL 36.78, 0.95%, 0.59%

LAB 76.34, 18.53, 69.06

 

CMYK 0 / 10 / 80 / 2

HEX #FAE233

RGB 250 226 51

HSL 52.76, 0.95%, 0.59%

LAB 89.37, -8.72, 80.59

 

CMYK 12 / 0 / 80 / 2

HEX #DCFA33

RGB 220 250 51

HSL 69.05, 0.95%, 0.59%

LAB 93.37, -32.52, 83.21

 

CMYK 34 / 0 / 80 / 2

HEX #A6FA33

RGB 166 250 51

HSL 85.33, 0.95%, 0.59%

LAB 90.19, -52.73, 79.16

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 47 / 71 / 9

HEX #E97C44

RGB 233 124 68

HSL 20.36, 0.79%, 0.59%

LAB 63.47, 37.85, 48.41

 

CMYK 0 / 40 / 61 / 15

HEX #D88255

RGB 216 130 85

HSL 20.61, 0.63%, 0.59%

LAB 62.69, 28.96, 38.16

 

CMYK 0 / 32 / 49 / 22

HEX #C78766

RGB 199 135 102

HSL 20.41, 0.46%, 0.59%

LAB 62.02, 20.76, 27.64

 

CMYK 0 / 23 / 35 / 29

HEX #B68C77

RGB 182 140 119

HSL 20, 0.3%, 0.59%

LAB 61.68, 12.99, 17.36

 

CMYK 0 / 80 / 64 / 2

HEX #FA335B

RGB 250 51 91

HSL 347.94, 0.95%, 0.59%

LAB 55.53, 74.01, 26.95

 

CMYK 0 / 74 / 80 / 2

HEX #FA4033

RGB 250 64 51

HSL 3.92, 0.95%, 0.59%

LAB 56.32, 68.69, 50.3

 

CMYK 0 / 53 / 80 / 2

HEX #FA7533

RGB 250 117 51

HSL 19.9, 0.95%, 0.59%

LAB 64.39, 47.14, 58.06

 

CMYK 0 / 32 / 80 / 2

HEX #FAAA33

RGB 250 170 51

HSL 35.88, 0.95%, 0.59%

LAB 75.65, 20.1, 68.43

 

CMYK 0 / 11 / 80 / 2

HEX #FADF33

RGB 250 223 51

HSL 51.86, 0.95%, 0.59%

LAB 88.61, -7.22, 79.93

 

CMYK 0 / 64 / 98 / 16

HEX #D54C05

RGB 213 76 5

HSL 20.48, 0.95%, 0.43%

LAB 51.07, 51.55, 60.43

 

CMYK 0 / 63 / 96 / 2

HEX #F95C0B

RGB 249 92 11

HSL 20.42, 0.95%, 0.51%

LAB 59.72, 57.3, 67.44

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 0 / 42 / 64 / 2

HEX #FB925B

RGB 251 146 91

HSL 20.63, 0.95%, 0.67%

LAB 70.75, 34.9, 45.74

 

CMYK 0 / 31 / 48 / 1

HEX #FCAD84

RGB 252 173 132

HSL 20.5, 0.95%, 0.75%

LAB 77.43, 24.42, 32.71

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 42 / 0 / 80 / 2

HEX #90FA33

RGB 144 250 51

HSL 91.96, 0.95%, 0.59%

LAB 89.18, -59.98, 77.86

 

CMYK 80 / 74 / 0 / 2

HEX #3340FA

RGB 51 64 250

HSL 236.08, 0.95%, 0.59%

LAB 40.04, 58.09, -92.15

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 80 / 0 / 53 / 2

HEX #33FA75

RGB 51 250 117

HSL 139.9, 0.95%, 0.59%

LAB 87.17, -73.92, 50.15

 

CMYK 53 / 80 / 0 / 2

HEX #7533FA

RGB 117 51 250

HSL 259.9, 0.95%, 0.59%

LAB 42.84, 70.01, -87.35

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 42 / 0 / 80 / 2

HEX #90FA33

RGB 144 250 51

HSL 91.96, 0.95%, 0.59%

LAB 89.18, -59.98, 77.86

 

CMYK 80 / 26 / 0 / 2

HEX #33B8FA

RGB 51 184 250

HSL 199.9, 0.95%, 0.59%

LAB 70.79, -13.15, -42.56

 

CMYK 37 / 80 / 0 / 2

HEX #9D33FA

RGB 157 51 250

HSL 271.96, 0.95%, 0.59%

LAB 47.54, 75.18, -79.46

 

CMYK 0 / 52 / 80 / 2

HEX #FA7733

RGB 250 119 51

HSL 20.5, 0.95%, 0.59%

LAB 64.77, 46.17, 58.42

 

CMYK 66 / 0 / 80 / 2

HEX #54FA33

RGB 84 250 51

HSL 110.05, 0.95%, 0.59%

LAB 87.24, -75.24, 75.37

 

CMYK 80 / 26 / 0 / 2

HEX #33B8FA

RGB 51 184 250

HSL 199.9, 0.95%, 0.59%

LAB 70.79, -13.15, -42.56

 

CMYK 13 / 80 / 0 / 2

HEX #D933FA

RGB 217 51 250

HSL 290.05, 0.95%, 0.59%

LAB 56.11, 84.72, -65.16

 

Description

Color code: RGB 250 119 51 | qconv.com Color code: RGB 250 119 51 | 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 red, 119 green and 51 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.
250 119 51 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, 52 magenta, 80 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% 52% 80% 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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