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Complementary color
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 RGBA 143 165 13 0.75 it is the complementary color RGBA 112 90 242 0.75. 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.
Lighter colors
Exposures are based on the same hue and represent lighter versions of the current color RGBA 143 165 13 0.75. 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 RGBA 143 165 13 0.75 shade: RGBA 148 165 8 0.75, RGBA 165 183 27 0.75, RGBA 182 201 46 0.75, RGBA 199 219 65 0.75 and RGBA 216 237 84 0.75
You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.
Darker colors
Shades are based on the same hue and represent a darker version of the current color RGBA 143 165 13 0.75. 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 RGBA 143 165 13 0.75 shade: RGBA 143 165 13 0.75, RGBA 126 147 0 0.75, RGBA 109 129 0 0.75, RGBA 92 111 0 0.75 and RGBA 75 93 0 0.75
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
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 165 146 13, RGB 165 105 13, RGB 165 64 13 and RGB 165 23 13
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
Colder colors are created by shifting the hue towards green, blue and violet.
The following colder shades match the RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 102 165 13, RGB 61 165 13, RGB 20 165 13 and RGB 13 165 47
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
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 RGBA 143 165 13 0.75 shade matches the following richer shades: RGB 143 165 13
An example is the development from a pale pink to a strong and bright red.
Paler colors
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 133 151 28, RGB 123 136 42, RGB 112 122 57 and RGB 102 107 71
An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.
Analogue colors
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 RGBA 143 165 13 0.75 shade: RGB 165 104 13, RGB 165 145 13, RGB 145 165 13, RGB 104 165 13 and RGB 64 165 13
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
Monochromatic colors
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 RGBA 143 165 13 0.75 shade: RGB 77 89 7, RGB 110 127 10, RGB 143 165 13, RGB 176 203 16 and RGB 206 236 25
Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye
Partial complementary colors
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 13 165 64 and RGB 125 13 165
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.
Triadic colors
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 13 145 165 and RGB 165 13 145
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 13 165 64, RGB 34 13 165 and RGB 165 13 115
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
Square colors
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 RGBA 143 165 13 0.75 shade: RGB 143 165 13, RGB 13 165 109, RGB 34 13 165 and RGB 165 13 69
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
HSLA 68.68, 0.85%, 0.35%, 0.75
LABA 63.98, -25.01, 64.43, 0.75
Complementary color
HSLA 248.68, 0.85%, 0.65%, 0.75
LABA 48.47, 48.2, -73.67, 0.75
Lighter colors
HSLA 66.5, 0.91%, 0.34%, 0.75
LABA 64.34, -22.93, 65.55, 0.75
HSLA 66.92, 0.74%, 0.41%, 0.75
LABA 70.83, -24.11, 68.05, 0.75
HSLA 67.35, 0.63%, 0.48%, 0.75
LABA 77.23, -25.08, 69.14, 0.75
HSLA 67.79, 0.68%, 0.56%, 0.75
LABA 83.54, -25.86, 69.32, 0.75
HSLA 68.24, 0.81%, 0.63%, 0.75
LABA 89.77, -26.5, 68.96, 0.75
Darker colors
HSLA 68.68, 0.85%, 0.35%, 0.75
LABA 63.98, -25.01, 64.43, 0.75
HSLA 68.57, 1%, 0.29%, 0.75
LABA 57.37, -23.7, 60.68, 0.75
HSLA 69.3, 1%, 0.25%, 0.75
LABA 50.63, -22.16, 55.07, 0.75
HSLA 70.27, 1%, 0.22%, 0.75
LABA 43.72, -20.59, 49.32, 0.75
HSLA 71.61, 1%, 0.18%, 0.75
LABA 36.6, -19, 43.39, 0.75
Warmer colors
Colder colors
Richer colors
Paler colors
Analogue colors
Monochromatic colors
Partial complementary colors
Triadic colors
Rectangular (tetradic) colors
Square colors
Description
Red and green clearly dominate this hue: the red and green values are higher than blue. Dark color: low color values appear darker.
The breakdown of the color into the RGB color system: of 255 maximum color components, 143 red, 165 green and 13 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.
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 10 cyan, none magenta, 69 yellow and 26 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.
Verification of their color palette as a manufacturer!
Provide designers and agencies with accurate color values.
Popular conversions
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RGBA to HEX
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RGBA to PANTONE®
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RGBA to Sherwin Williams®
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RGBA to NCS®
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CMYK to HEX
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CMYK to RGB
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CMYK to RGBA
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CMYK to RAL®
convert from CMYK cyan / magenta / yellow / black to RAL®-number (RAL 0000)
CMYK to HKS®
convert from CMYK cyan / magenta / yellow / black to HKS®-number (HKS 00)
CMYK to PANTONE®
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CMYK to Sherwin Williams®
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CMYK to NCS®
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HEX to RGB
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HEX to HKS®
convert from #RRGGBB to HKS®-number (HKS 00)
HEX to PANTONE®
convert from #RRGGBB to Pantone®-number (Pantone 0000)
HEX to Sherwin Williams®
convert from #RRGGBB to Sherwin Williams®-number (SW 0000)
HEX to NCS®
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RAL® to RGB
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RAL® to RGBA
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RAL® to CMYK
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RAL® to HEX
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RAL® to HKS®
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RAL® to PANTONE®
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RAL® to Sherwin Williams®
convert from RAL®-number (RAL 0000) to Sherwin Williams®-number (SW 0000)
RAL® to NCS®
convert from RAL®-number (RAL 0000) to NCS-number (S0000-X00X)
HKS® to RGB
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HKS® to RGBA
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HKS® to CMYK
convert from HKS®-number (HKS 00) to CMYK cyan / magenta / yellow / black
HKS® to HEX
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HKS® to RAL®
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HKS® to PANTONE®
convert from HKS®-number (HKS 00) to Pantone®-number (Pantone 0000)
HKS® to Sherwin Williams®
convert from HKS®-number (HKS 00) to Sherwin Williams®-number (SW 0000)
HKS® to NCS®
convert from HKS®-number (HKS 00) to NCS-number (S0000-X00X)
PANTONE® to RGB
convert from Pantone®-number (Pantone 0000) to RGB red green blue
PANTONE® to RGBA
convert from Pantone®-number (Pantone 0000) to RGBA red green blue transparency
PANTONE® to CMYK
convert from Pantone®-number (Pantone 0000) to CMYK cyan / magenta / yellow / black
PANTONE® to HEX
convert from Pantone®-number (Pantone 0000) to #RRGGBB
PANTONE® to RAL®
convert from Pantone®-number (Pantone 0000) to RAL®-number (RAL 0000)
PANTONE® to HKS®
convert from Pantone®-number (Pantone 0000) to HKS®-number (HKS 00)
PANTONE® to Sherwin Williams®
convert from Pantone®-number (Pantone 0000) to Sherwin Williams®-number (SW 0000)
PANTONE® to NCS®
convert from Pantone®-number (Pantone 0000) to NCS-number (S0000-X00X)
Sherwin Williams® to RGB
convert from Sherwin Williams®-number (SW 0000) to RGB red green blue
Sherwin Williams® to RGBA
convert from Sherwin Williams®-number (SW 0000) to RGBA red green blue transparency
Sherwin Williams® to CMYK
convert from Sherwin Williams®-number (SW 0000) to CMYK cyan / magenta / yellow / black
Sherwin Williams® to HEX
convert from Sherwin Williams®-number (SW 0000) to #RRGGBB
Sherwin Williams® to RAL®
convert from Sherwin Williams®-number (SW 0000) to RAL®-number (RAL 0000)
Sherwin Williams® to HKS®
convert from Sherwin Williams®-number (SW 0000) to HKS®-number (HKS 00)
Sherwin Williams® to PANTONE®
convert from Sherwin Williams®-number (SW 0000) to Pantone®-number (Pantone 0000)