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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 53 48 250 it is the complementary color RGB 202 207 5. 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 53 48 250. 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 53 48 250 shade: RGB 58 48 245, RGB 75 66 255, RGB 92 84 255, RGB 109 102 255 and RGB 126 120 255

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 53 48 250. 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 53 48 250 shade: RGB 53 48 250, RGB 36 30 231, RGB 19 12 212, RGB 2 0 193 and RGB 0 0 174

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 53 48 250 shade: RGB 51 46 250, RGB 106 46 250, RGB 161 46 250, RGB 216 46 250 and RGB 250 46 229

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 53 48 250 shade: RGB 51 46 250 and RGB 46 46 250

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 53 48 250 shade matches the following richer shades: RGB 51 46 250

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 53 48 250 shade: RGB 51 46 250, RGB 68 63 232, RGB 84 81 215, RGB 101 98 198 and RGB 117 115 180

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 53 48 250 shade: RGB 46 151 250, RGB 46 97 250, RGB 50 46 250, RGB 104 46 250 and RGB 158 46 250

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 53 48 250 shade: RGB 10 5 208, RGB 12 6 248, RGB 51 46 250, RGB 90 86 251 and RGB 130 127 252

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 53 48 250 shade: RGB 53 48 250, RGB 250 46 206 and RGB 124 250 46

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 53 48 250 shade: RGB 53 48 250, RGB 250 50 46 and RGB 46 250 50

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 53 48 250 shade: RGB 53 48 250, RGB 250 46 206, RGB 246 250 46 and RGB 46 250 90

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 53 48 250 shade: RGB 53 48 250, RGB 250 46 145, RGB 246 250 46 and RGB 46 250 151

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 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

Complementary color

CMYK 2 / 0 / 98 / 19

HEX #CACF05

RGB 202 207 5

HSL 61.49, 0.95%, 0.42%

LAB 80.29, -20.5, 79.8

 

CMYK 76 / 80 / 0 / 4

HEX #3A30F5

RGB 58 48 245

HSL 243.05, 0.91%, 0.57%

LAB 37.13, 64.81, -94.15

 

CMYK 71 / 74 / 0 / 0

HEX #4B42FF

RGB 75 66 255

HSL 242.86, 1%, 0.63%

LAB 42.17, 60.38, -91.37

 

CMYK 64 / 67 / 0 / 0

HEX #5C54FF

RGB 92 84 255

HSL 242.81, 1%, 0.66%

LAB 46.76, 52.53, -83.78

 

CMYK 57 / 60 / 0 / 0

HEX #6D66FF

RGB 109 102 255

HSL 242.75, 1%, 0.7%

LAB 51.81, 44.75, -75.49

 

CMYK 51 / 53 / 0 / 0

HEX #7E78FF

RGB 126 120 255

HSL 242.67, 1%, 0.74%

LAB 57.16, 37.38, -66.76

 

CMYK 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

CMYK 84 / 87 / 0 / 9

HEX #241EE7

RGB 36 30 231

HSL 241.79, 0.81%, 0.51%

LAB 31.97, 67.07, -94.81

 

CMYK 91 / 94 / 0 / 17

HEX #130CD4

RGB 19 12 212

HSL 242.1, 0.89%, 0.44%

LAB 27.17, 66.71, -91.9

 

CMYK 99 / 100 / 0 / 24

HEX #0200C1

RGB 2 0 193

HSL 240.62, 1%, 0.38%

LAB 23.21, 64.24, -87.4

 

CMYK 100 / 100 / 0 / 32

HEX #0000AE

RGB 0 0 174

HSL 240, 1%, 0.34%

LAB 20.27, 59.46, -80.99

 

CMYK 80 / 82 / 0 / 2

HEX #332EFA

RGB 51 46 250

HSL 241.47, 0.95%, 0.58%

LAB 37.04, 66.76, -97.12

 

CMYK 58 / 82 / 0 / 2

HEX #6A2EFA

RGB 106 46 250

HSL 257.65, 0.95%, 0.58%

LAB 41.09, 70.73, -90.28

 

CMYK 36 / 82 / 0 / 2

HEX #A12EFA

RGB 161 46 250

HSL 273.82, 0.95%, 0.58%

LAB 47.54, 77.3, -79.45

 

CMYK 14 / 82 / 0 / 2

HEX #D82EFA

RGB 216 46 250

HSL 290, 0.95%, 0.58%

LAB 55.54, 85.77, -66.09

 

CMYK 0 / 82 / 8 / 2

HEX #FA2EE5

RGB 250 46 229

HSL 306.18, 0.95%, 0.58%

LAB 59.83, 88.65, -47.17

 

CMYK 80 / 82 / 0 / 2

HEX #332EFA

RGB 51 46 250

HSL 241.47, 0.95%, 0.58%

LAB 37.04, 66.76, -97.12

 

CMYK 82 / 82 / 0 / 2

HEX #2E2EFA

RGB 46 46 250

HSL 240, 0.95%, 0.58%

LAB 36.81, 66.54, -97.5

 

CMYK 80 / 82 / 0 / 2

HEX #332EFA

RGB 51 46 250

HSL 241.47, 0.95%, 0.58%

LAB 37.04, 66.76, -97.12

 

CMYK 80 / 82 / 0 / 2

HEX #332EFA

RGB 51 46 250

HSL 241.47, 0.95%, 0.58%

LAB 37.04, 66.76, -97.12

 

CMYK 71 / 73 / 0 / 9

HEX #443FE8

RGB 68 63 232

HSL 241.78, 0.79%, 0.58%

LAB 38.92, 54.24, -83.82

 

CMYK 61 / 62 / 0 / 16

HEX #5451D7

RGB 84 81 215

HSL 241.34, 0.63%, 0.58%

LAB 42.27, 40.49, -68.57

 

CMYK 49 / 51 / 0 / 22

HEX #6562C6

RGB 101 98 198

HSL 241.8, 0.47%, 0.58%

LAB 46.42, 27.99, -52.03

 

CMYK 35 / 36 / 0 / 29

HEX #7573B4

RGB 117 115 180

HSL 241.85, 0.3%, 0.58%

LAB 51.08, 16.47, -34.16

 

CMYK 82 / 40 / 0 / 2

HEX #2E97FA

RGB 46 151 250

HSL 209.12, 0.95%, 0.58%

LAB 61.32, 5.05, -57.53

 

CMYK 82 / 61 / 0 / 2

HEX #2E61FA

RGB 46 97 250

HSL 225, 0.95%, 0.58%

LAB 47.02, 38.4, -80.66

 

CMYK 80 / 82 / 0 / 2

HEX #322EFA

RGB 50 46 250

HSL 241.18, 0.95%, 0.58%

LAB 36.99, 66.72, -97.2

 

CMYK 58 / 82 / 0 / 2

HEX #682EFA

RGB 104 46 250

HSL 257.06, 0.95%, 0.58%

LAB 40.9, 70.53, -90.61

 

CMYK 37 / 82 / 0 / 2

HEX #9E2EFA

RGB 158 46 250

HSL 272.94, 0.95%, 0.58%

LAB 47.14, 76.89, -80.12

 

CMYK 95 / 98 / 0 / 18

HEX #0A05D0

RGB 10 5 208

HSL 241.48, 0.95%, 0.42%

LAB 25.94, 66.97, -91.63

 

CMYK 95 / 98 / 0 / 3

HEX #0C06F8

RGB 12 6 248

HSL 241.49, 0.95%, 0.5%

LAB 31.77, 76.67, -104.81

 

CMYK 80 / 82 / 0 / 2

HEX #332EFA

RGB 51 46 250

HSL 241.47, 0.95%, 0.58%

LAB 37.04, 66.76, -97.12

 

CMYK 64 / 66 / 0 / 2

HEX #5A56FB

RGB 90 86 251

HSL 241.45, 0.95%, 0.66%

LAB 46.7, 49.9, -81.65

 

CMYK 48 / 50 / 0 / 1

HEX #827FFC

RGB 130 127 252

HSL 241.44, 0.95%, 0.74%

LAB 58.93, 33.23, -62.25

 

CMYK 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

CMYK 0 / 82 / 18 / 2

HEX #FA2ECE

RGB 250 46 206

HSL 312.94, 0.95%, 0.58%

LAB 58.73, 85.63, -35.89

 

CMYK 50 / 0 / 82 / 2

HEX #7CFA2E

RGB 124 250 46

HSL 97.06, 0.95%, 0.58%

LAB 88.38, -66.09, 78.11

 

CMYK 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

CMYK 0 / 80 / 82 / 2

HEX #FA322E

RGB 250 50 46

HSL 1.18, 0.95%, 0.58%

LAB 54.87, 72.5, 51.43

 

CMYK 82 / 0 / 80 / 2

HEX #2EFA32

RGB 46 250 50

HSL 121.18, 0.95%, 0.58%

LAB 86.59, -80.83, 74.8

 

CMYK 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

CMYK 0 / 82 / 18 / 2

HEX #FA2ECE

RGB 250 46 206

HSL 312.94, 0.95%, 0.58%

LAB 58.73, 85.63, -35.89

 

CMYK 2 / 0 / 82 / 2

HEX #F6FA2E

RGB 246 250 46

HSL 61.18, 0.95%, 0.58%

LAB 95.23, -22.2, 86.74

 

CMYK 82 / 0 / 64 / 2

HEX #2EFA5A

RGB 46 250 90

HSL 132.94, 0.95%, 0.58%

LAB 86.84, -77.7, 61.46

 

CMYK 79 / 81 / 0 / 2

HEX #3530FA

RGB 53 48 250

HSL 241.49, 0.95%, 0.58%

LAB 37.43, 65.99, -96.46

 

CMYK 0 / 82 / 42 / 2

HEX #FA2E91

RGB 250 46 145

HSL 330.88, 0.95%, 0.58%

LAB 56.41, 79.06, -3.96

 

CMYK 2 / 0 / 82 / 2

HEX #F6FA2E

RGB 246 250 46

HSL 61.18, 0.95%, 0.58%

LAB 95.23, -22.2, 86.74

 

CMYK 82 / 0 / 40 / 2

HEX #2EFA97

RGB 46 250 151

HSL 150.88, 0.95%, 0.58%

LAB 87.58, -68.97, 34.32

 

Description

Color code: RGB 53 48 250 | qconv.com Color code: RGB 53 48 250 | qconv.com - big

Blue clearly dominates: the blue value surpasses the others. Bright color: high color values create a bright impression.

The breakdown of the color into the RGB color system: of 255 maximum color components, 53 red, 48 green and 250 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.
53 48 250 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 79 cyan, 81 magenta, none 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.
79% 81% 0% 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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