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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 67 250 it is the complementary color RGB 202 188 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 67 250. 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 67 250 shade: RGB 58 67 245, RGB 75 85 255, RGB 92 103 255, RGB 109 121 255 and RGB 126 139 255

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 67 250. 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 67 250 shade: RGB 53 67 250, RGB 36 49 231, RGB 19 31 212, RGB 2 13 193 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 67 250 shade: RGB 51 65 250, RGB 91 51 250, RGB 144 51 250, RGB 198 51 250 and RGB 250 51 248

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 67 250 shade: RGB 51 65 250 and RGB 51 51 250

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 67 250 shade matches the following richer shades: RGB 51 65 250

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 67 250 shade: RGB 51 65 250, RGB 68 80 233, RGB 85 94 216, RGB 102 109 199 and RGB 119 123 182

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 67 250 shade: RGB 51 174 250, RGB 51 121 250, RGB 51 68 250, RGB 88 51 250 and RGB 141 51 250

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 67 250 shade: RGB 5 20 213, RGB 11 28 249, RGB 51 65 250, RGB 91 103 251 and RGB 132 140 252

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 67 250 shade: RGB 53 67 250, RGB 250 51 227 and RGB 147 250 51

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 67 250 shade: RGB 53 67 250, RGB 250 51 68 and RGB 68 250 51

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 67 250 shade: RGB 53 67 250, RGB 250 51 227, RGB 250 233 51 and RGB 51 250 74

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 67 250 shade: RGB 53 67 250, RGB 250 51 167, RGB 250 233 51 and RGB 51 250 134

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 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

Complementary color

CMYK 0 / 7 / 98 / 21

HEX #CABC05

RGB 202 188 5

HSL 55.74, 0.95%, 0.41%

LAB 75.16, -10.99, 76

 

CMYK 76 / 73 / 0 / 4

HEX #3A43F5

RGB 58 67 245

HSL 237.11, 0.9%, 0.59%

LAB 40.42, 55.36, -88.69

 

CMYK 71 / 67 / 0 / 0

HEX #4B55FF

RGB 75 85 255

HSL 236.67, 1%, 0.65%

LAB 45.92, 49.99, -85.19

 

CMYK 64 / 60 / 0 / 0

HEX #5C67FF

RGB 92 103 255

HSL 235.95, 1%, 0.68%

LAB 50.92, 41.52, -76.99

 

CMYK 57 / 53 / 0 / 0

HEX #6D79FF

RGB 109 121 255

HSL 235.07, 1%, 0.71%

LAB 56.23, 33.54, -68.31

 

CMYK 51 / 45 / 0 / 0

HEX #7E8BFF

RGB 126 139 255

HSL 233.95, 1%, 0.75%

LAB 61.76, 26.22, -59.38

 

CMYK 79 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

CMYK 84 / 79 / 0 / 9

HEX #2431E7

RGB 36 49 231

HSL 236, 0.8%, 0.52%

LAB 34.68, 59.04, -90.3

 

CMYK 91 / 85 / 0 / 17

HEX #131FD4

RGB 19 31 212

HSL 236.27, 0.84%, 0.45%

LAB 29.09, 60.89, -88.7

 

CMYK 99 / 93 / 0 / 24

HEX #020DC1

RGB 2 13 193

HSL 236.54, 0.98%, 0.38%

LAB 24.16, 61.29, -85.81

 

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 / 74 / 0 / 2

HEX #3341FA

RGB 51 65 250

HSL 235.78, 0.95%, 0.59%

LAB 40.22, 57.56, -91.84

 

CMYK 64 / 80 / 0 / 2

HEX #5B33FA

RGB 91 51 250

HSL 252.06, 0.95%, 0.59%

LAB 40.4, 67.36, -91.47

 

CMYK 42 / 80 / 0 / 2

HEX #9033FA

RGB 144 51 250

HSL 268.04, 0.95%, 0.59%

LAB 45.91, 73.37, -82.2

 

CMYK 21 / 80 / 0 / 2

HEX #C633FA

RGB 198 51 250

HSL 284.32, 0.95%, 0.59%

LAB 53.25, 81.52, -69.92

 

CMYK 0 / 80 / 1 / 2

HEX #FA33F8

RGB 250 51 248

HSL 300.6, 0.95%, 0.59%

LAB 61.19, 90.27, -55.62

 

CMYK 80 / 74 / 0 / 2

HEX #3341FA

RGB 51 65 250

HSL 235.78, 0.95%, 0.59%

LAB 40.22, 57.56, -91.84

 

CMYK 80 / 80 / 0 / 2

HEX #3333FA

RGB 51 51 250

HSL 240, 0.95%, 0.59%

LAB 37.79, 64.55, -95.86

 

CMYK 80 / 74 / 0 / 2

HEX #3341FA

RGB 51 65 250

HSL 235.78, 0.95%, 0.59%

LAB 40.22, 57.56, -91.84

 

CMYK 80 / 74 / 0 / 2

HEX #3341FA

RGB 51 65 250

HSL 235.78, 0.95%, 0.59%

LAB 40.22, 57.56, -91.84

 

CMYK 71 / 66 / 0 / 9

HEX #4450E9

RGB 68 80 233

HSL 235.64, 0.79%, 0.59%

LAB 42.54, 44.89, -78.43

 

CMYK 61 / 56 / 0 / 15

HEX #555ED8

RGB 85 94 216

HSL 235.88, 0.63%, 0.59%

LAB 45.49, 33.06, -63.91

 

CMYK 49 / 45 / 0 / 22

HEX #666DC7

RGB 102 109 199

HSL 235.67, 0.46%, 0.59%

LAB 49.36, 21.79, -47.9

 

CMYK 35 / 32 / 0 / 29

HEX #777BB6

RGB 119 123 182

HSL 236.19, 0.3%, 0.59%

LAB 53.45, 12.81, -31.59

 

CMYK 80 / 30 / 0 / 2

HEX #33AEFA

RGB 51 174 250

HSL 202.91, 0.95%, 0.59%

LAB 67.93, -7.68, -47.05

 

CMYK 80 / 52 / 0 / 2

HEX #3379FA

RGB 51 121 250

HSL 218.89, 0.95%, 0.59%

LAB 53.26, 23.79, -70.5

 

CMYK 80 / 73 / 0 / 2

HEX #3344FA

RGB 51 68 250

HSL 234.87, 0.95%, 0.59%

LAB 40.8, 55.94, -90.88

 

CMYK 65 / 80 / 0 / 2

HEX #5833FA

RGB 88 51 250

HSL 251.16, 0.95%, 0.59%

LAB 40.15, 67.09, -91.88

 

CMYK 44 / 80 / 0 / 2

HEX #8D33FA

RGB 141 51 250

HSL 267.14, 0.95%, 0.59%

LAB 45.54, 72.97, -82.82

 

CMYK 98 / 91 / 0 / 16

HEX #0514D5

RGB 5 20 213

HSL 235.67, 0.95%, 0.43%

LAB 27.67, 64.82, -91.65

 

CMYK 96 / 89 / 0 / 2

HEX #0B1CF9

RGB 11 28 249

HSL 235.71, 0.95%, 0.51%

LAB 33.44, 72.18, -102.59

 

CMYK 80 / 74 / 0 / 2

HEX #3341FA

RGB 51 65 250

HSL 235.78, 0.95%, 0.59%

LAB 40.22, 57.56, -91.84

 

CMYK 64 / 59 / 0 / 2

HEX #5B67FB

RGB 91 103 251

HSL 235.5, 0.95%, 0.67%

LAB 50.56, 40.07, -75.35

 

CMYK 48 / 44 / 0 / 1

HEX #848CFC

RGB 132 140 252

HSL 236, 0.95%, 0.75%

LAB 62.25, 26.05, -56.94

 

CMYK 79 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

CMYK 0 / 80 / 9 / 2

HEX #FA33E3

RGB 250 51 227

HSL 306.93, 0.95%, 0.59%

LAB 60.1, 87.29, -45.62

 

CMYK 41 / 0 / 80 / 2

HEX #93FA33

RGB 147 250 51

HSL 91.06, 0.95%, 0.59%

LAB 89.31, -59.03, 78.03

 

CMYK 79 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

CMYK 0 / 80 / 73 / 2

HEX #FA3344

RGB 250 51 68

HSL 354.87, 0.95%, 0.59%

LAB 55.18, 72.95, 39.9

 

CMYK 73 / 0 / 80 / 2

HEX #44FA33

RGB 68 250 51

HSL 114.87, 0.95%, 0.59%

LAB 86.92, -77.98, 74.95

 

CMYK 79 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

CMYK 0 / 80 / 9 / 2

HEX #FA33E3

RGB 250 51 227

HSL 306.93, 0.95%, 0.59%

LAB 60.1, 87.29, -45.62

 

CMYK 0 / 7 / 80 / 2

HEX #FAE933

RGB 250 233 51

HSL 54.87, 0.95%, 0.59%

LAB 91.16, -12.18, 82.15

 

CMYK 80 / 0 / 70 / 2

HEX #33FA4A

RGB 51 250 74

HSL 126.93, 0.95%, 0.59%

LAB 86.79, -78.66, 67.52

 

CMYK 79 / 73 / 0 / 2

HEX #3543FA

RGB 53 67 250

HSL 235.74, 0.95%, 0.59%

LAB 40.69, 56.61, -91.06

 

CMYK 0 / 80 / 33 / 2

HEX #FA33A7

RGB 250 51 167

HSL 325.03, 0.95%, 0.59%

LAB 57.54, 80.03, -15.2

 

CMYK 0 / 7 / 80 / 2

HEX #FAE933

RGB 250 233 51

HSL 54.87, 0.95%, 0.59%

LAB 91.16, -12.18, 82.15

 

CMYK 80 / 0 / 46 / 2

HEX #33FA86

RGB 51 250 134

HSL 145.03, 0.95%, 0.59%

LAB 87.39, -71.39, 42.41

 

Description

Color code: RGB 53 67 250 | qconv.com Color code: RGB 53 67 250 | 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, 67 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 67 250 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, 73 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% 73% 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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