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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 251 120 234 it is the complementary color RGB 4 135 21. 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 251 120 234. 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 color tone RGB 251 120 234: RGB 255 120 229, RGB 255 138 248, RGB 255 156 255, RGB 255 174 255 and RGB 255 192 255

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 251 120 234. 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 color tone RGB 251 120 234: RGB 251 120 234, RGB 234 102 215, RGB 217 84 196, RGB 200 66 177 and RGB 183 48 158

Among other things, you can use them to modify buttons with mouse-over effects (called :hover in CSS) or generate other color gradations.

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.

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.

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.

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 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.

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.

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 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

Complementary color

CMYK 97 / 0 / 84 / 47

HEX #048715

RGB 4 135 21

HSL 127.79, 0.94%, 0.27%

LAB 48.77, -52.56, 47.46

 

CMYK 0 / 53 / 10 / 0

HEX #FF78E5

RGB 255 120 229

HSL 311.56, 1%, 0.74%

LAB 69.72, 64.39, -31.66

 

CMYK 0 / 46 / 3 / 0

HEX #FF8AF8

RGB 255 138 248

HSL 303.59, 1%, 0.77%

LAB 73.68, 59.02, -35.93

 

CMYK 0 / 39 / 0 / 0

HEX #FF9CFF

RGB 255 156 255

HSL 300, 1%, 0.81%

LAB 77.43, 51.32, -33.92

 

CMYK 0 / 32 / 0 / 0

HEX #FFAEFF

RGB 255 174 255

HSL 300, 1%, 0.84%

LAB 81.16, 42.08, -28.2

 

CMYK 0 / 25 / 0 / 0

HEX #FFC0FF

RGB 255 192 255

HSL 300, 1%, 0.88%

LAB 85.09, 32.67, -22.21

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 56 / 8 / 8

HEX #EA66D7

RGB 234 102 215

HSL 308.64, 0.76%, 0.66%

LAB 63.26, 64.52, -34.1

 

CMYK 0 / 61 / 10 / 15

HEX #D954C4

RGB 217 84 196

HSL 309.47, 0.64%, 0.59%

LAB 57.15, 64.77, -33.03

 

CMYK 0 / 67 / 12 / 22

HEX #C842B1

RGB 200 66 177

HSL 310.3, 0.55%, 0.52%

LAB 51.09, 64.7, -31.68

 

CMYK 0 / 74 / 14 / 28

HEX #B7309E

RGB 183 48 158

HSL 311.11, 0.58%, 0.45%

LAB 45.15, 64.11, -29.94

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 52 / 14 / 2

HEX #FA79D6

RGB 250 121 214

HSL 316.74, 0.93%, 0.73%

LAB 68.65, 60.22, -25.05

 

CMYK 0 / 52 / 23 / 2

HEX #FA79C0

RGB 250 121 192

HSL 326.98, 0.93%, 0.73%

LAB 67.88, 57.07, -13.92

 

CMYK 0 / 52 / 32 / 2

HEX #FA79AB

RGB 250 121 171

HSL 336.74, 0.93%, 0.73%

LAB 67.23, 54.37, -3.04

 

CMYK 0 / 52 / 40 / 2

HEX #FA7995

RGB 250 121 149

HSL 346.98, 0.93%, 0.73%

LAB 66.65, 51.87, 8.58

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 53 / 6 / 82

HEX #2F162C

RGB 47 22 44

HSL 307.2, 0.36%, 0.14%

LAB 11.69, 16.68, -9.44

 

CMYK 0 / 52 / 7 / 62

HEX #622F5B

RGB 98 47 91

HSL 308.24, 0.35%, 0.28%

LAB 27.8, 29.78, -16.24

 

CMYK 0 / 52 / 7 / 42

HEX #95478B

RGB 149 71 139

HSL 307.69, 0.35%, 0.43%

LAB 42.4, 42.2, -23.19

 

CMYK 0 / 52 / 7 / 22

HEX #C860BA

RGB 200 96 186

HSL 308.08, 0.49%, 0.58%

LAB 56.28, 53.1, -28.84

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 35 / 52 / 2

HEX #FAA279

RGB 250 162 121

HSL 19.07, 0.93%, 0.73%

LAB 74.54, 28.41, 34.74

 

CMYK 52 / 0 / 14 / 2

HEX #79FAD6

RGB 121 250 214

HSL 163.26, 0.93%, 0.73%

LAB 90.46, -44.21, 6.38

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 6 / 0 / 52 / 2

HEX #EBFA79

RGB 235 250 121

HSL 66.98, 0.93%, 0.73%

LAB 94.91, -22.5, 59.41

 

CMYK 52 / 6 / 0 / 2

HEX #79EBFA

RGB 121 235 250

HSL 186.98, 0.93%, 0.73%

LAB 87.18, -28.49, -17.24

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 35 / 52 / 2

HEX #FAA279

RGB 250 162 121

HSL 19.07, 0.93%, 0.73%

LAB 74.54, 28.41, 34.74

 

CMYK 52 / 0 / 46 / 2

HEX #79FA88

RGB 121 250 136

HSL 126.98, 0.93%, 0.73%

LAB 89.02, -58.66, 43.86

 

CMYK 52 / 16 / 0 / 2

HEX #79D1FA

RGB 121 209 250

HSL 199.07, 0.93%, 0.73%

LAB 79.94, -15.51, -28.24

 

CMYK 0 / 52 / 7 / 2

HEX #FB78EA

RGB 251 120 234

HSL 307.79, 0.94%, 0.73%

LAB 69.39, 64.07, -34.97

 

CMYK 0 / 20 / 52 / 2

HEX #FAC979

RGB 250 201 121

HSL 37.21, 0.93%, 0.73%

LAB 83.69, 7.99, 46.26

 

CMYK 52 / 0 / 46 / 2

HEX #79FA88

RGB 121 250 136

HSL 126.98, 0.93%, 0.73%

LAB 89.02, -58.66, 43.86

 

CMYK 52 / 32 / 0 / 2

HEX #79ABFA

RGB 121 171 250

HSL 216.74, 0.93%, 0.73%

LAB 69.54, 5.08, -44.36

 

Description

Color code: RGB 251 120 234 | qconv.com Color code: RGB 251 120 234 | qconv.com - big

Since the color values are relatively high compared to others, this hue appears lighter to us.

The breakdown of the color into the RGB color system: of 255 maximum color components, 251 red, 120 green and 234 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.
251 120 234 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, 7 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% 7% 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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