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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 21 160 137 0.75 it is the complementary color RGBA 234 95 118 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 21 160 137 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 21 160 137 0.75 shade: RGBA 26 160 132 0.75, RGBA 43 178 151 0.75, RGBA 60 196 170 0.75, RGBA 77 214 189 0.75 and RGBA 94 232 208 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 21 160 137 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 21 160 137 0.75 shade: RGBA 21 160 137 0.75, RGBA 4 142 118 0.75, RGBA 0 124 99 0.75, RGBA 0 106 80 0.75 and RGBA 0 88 61 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 21 160 137 0.75 shade: RGB 21 158 135, RGB 21 158 98, RGB 21 158 61, RGB 21 158 24 and RGB 54 158 21
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 21 160 137 0.75 shade: RGB 21 158 135, RGB 21 144 158, RGB 21 107 158, RGB 21 70 158 and RGB 21 32 158
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 21 160 137 0.75 shade matches the following richer shades: RGB 21 158 135 and RGB 6 172 145
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 21 160 137 0.75 shade: RGB 21 158 135, RGB 35 144 126, RGB 49 129 116, RGB 64 115 106 and RGB 78 100 97
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 21 160 137 0.75 shade: RGB 21 158 62, RGB 21 158 98, RGB 21 158 135, RGB 21 144 158 and RGB 21 108 158
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 21 160 137 0.75 shade: RGB 11 85 73, RGB 16 121 104, RGB 21 158 135, RGB 25 194 166 and RGB 35 226 195
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 21 160 137 0.75 shade: RGB 21 160 137, RGB 25 21 158 and RGB 158 80 21
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 21 160 137 0.75 shade: RGB 21 160 137, RGB 135 21 158 and RGB 158 135 21
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 21 160 137 0.75 shade: RGB 21 160 137, RGB 25 21 158, RGB 158 21 43 and RGB 153 158 21
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 21 160 137 0.75 shade: RGB 21 160 137, RGB 66 21 158, RGB 158 21 43 and RGB 112 158 21
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 170.07, 0.77%, 0.35%, 0.75
LABA 59.07, -39.71, 2.28, 0.75
Complementary color
HSLA 350.07, 0.77%, 0.65%, 0.75
LABA 58.96, 55.59, 15.23, 0.75
Lighter colors
HSLA 167.46, 0.72%, 0.36%, 0.75
LABA 59, -40.67, 5, 0.75
HSLA 168, 0.61%, 0.43%, 0.75
LABA 65.43, -41.66, 3.69, 0.75
HSLA 168.53, 0.54%, 0.5%, 0.75
LABA 71.79, -42.33, 2.52, 0.75
HSLA 169.05, 0.63%, 0.57%, 0.75
LABA 78.08, -42.77, 1.46, 0.75
HSLA 169.57, 0.75%, 0.64%, 0.75
LABA 84.3, -43.05, 0.49, 0.75
Darker colors
HSLA 170.07, 0.77%, 0.35%, 0.75
LABA 59.07, -39.71, 2.28, 0.75
HSLA 169.57, 0.95%, 0.29%, 0.75
LABA 52.6, -38.11, 3.74, 0.75
HSLA 167.9, 1%, 0.24%, 0.75
LABA 46.06, -35.8, 5.44, 0.75
HSLA 165.28, 1%, 0.21%, 0.75
LABA 39.39, -33.22, 7.29, 0.75
HSLA 161.59, 1%, 0.17%, 0.75
LABA 32.52, -30.52, 9.28, 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
Blue and green clearly dominate this hue: the blue and green values are higher than red. Dark color: low color values appear darker.
The breakdown of the color into the RGB color system: of 255 maximum color components, 21 red, 160 green and 137 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, 65 cyan, none magenta, 11 yellow and 28 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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CMYK to HKS®
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CMYK to PANTONE®
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CMYK to Sherwin Williams®
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HEX to NCS®
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RAL® to HKS®
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RAL® to PANTONE®
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RAL® to Sherwin Williams®
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RAL® to NCS®
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HKS® to RGB
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HKS® to RGBA
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HKS® to CMYK
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HKS® to RAL®
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HKS® to PANTONE®
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HKS® to Sherwin Williams®
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HKS® to NCS®
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PANTONE® to RGB
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PANTONE® to RGBA
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PANTONE® to CMYK
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PANTONE® to HEX
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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
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Sherwin Williams® to RGBA
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Sherwin Williams® to CMYK
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Sherwin Williams® to HEX
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Sherwin Williams® to RAL®
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Sherwin Williams® to HKS®
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Sherwin Williams® to PANTONE®
convert from Sherwin Williams®-number (SW 0000) to Pantone®-number (Pantone 0000)