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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 27 160 231 0.75 it is the complementary color RGBA 228 95 24 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 27 160 231 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 27 160 231 0.75 shade: RGBA 32 160 226 0.75, RGBA 49 178 245 0.75, RGBA 66 196 255 0.75, RGBA 83 214 255 0.75 and RGBA 100 232 255 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 27 160 231 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 27 160 231 0.75 shade: RGBA 27 160 231 0.75, RGBA 10 142 212 0.75, RGBA 0 124 193 0.75, RGBA 0 106 174 0.75 and RGBA 0 88 155 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 27 160 231 0.75 shade: RGB 29 161 231, RGB 29 106 231, RGB 29 52 231, RGB 61 29 231 and RGB 115 29 231
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 27 160 231 0.75 shade: RGB 29 161 231, RGB 29 106 231, RGB 29 52 231 and RGB 29 29 231
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 27 160 231 0.75 shade matches the following richer shades: RGB 29 161 231 and RGB 9 167 251
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 27 160 231 0.75 shade: RGB 29 161 231, RGB 49 155 211, RGB 69 149 191, RGB 89 142 171 and RGB 110 136 150
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 27 160 231 0.75 shade: RGB 29 231 191, RGB 29 218 231, RGB 29 164 231, RGB 29 110 231 and RGB 29 56 231
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 27 160 231 0.75 shade: RGB 17 111 161, RGB 21 136 198, RGB 29 161 231, RGB 66 176 235 and RGB 104 192 239
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 27 160 231 0.75 shade: RGB 27 160 231, RGB 137 29 231 and RGB 231 218 29
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 27 160 231 0.75 shade: RGB 27 160 231, RGB 231 29 164 and RGB 164 231 29
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 27 160 231 0.75 shade: RGB 27 160 231, RGB 137 29 231, RGB 231 96 29 and RGB 123 231 29
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 27 160 231 0.75 shade: RGB 27 160 231, RGB 198 29 231, RGB 231 96 29 and RGB 63 231 29
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 200.88, 0.81%, 0.51%, 0.75
LABA 62.63, -8.43, -45.03, 0.75
Complementary color
HSLA 20.88, 0.81%, 0.49%, 0.75
LABA 56.83, 48.7, 60.61, 0.75
Lighter colors
HSLA 200.41, 0.77%, 0.51%, 0.75
LABA 62.46, -9.92, -42.53, 0.75
HSLA 200.51, 0.91%, 0.58%, 0.75
LABA 68.81, -11.8, -42.95, 0.75
HSLA 198.73, 1%, 0.63%, 0.75
LABA 74.74, -16.29, -39.08, 0.75
HSLA 194.3, 1%, 0.66%, 0.75
LABA 80.27, -23.33, -30.5, 0.75
HSLA 188.9, 1%, 0.7%, 0.75
LABA 85.83, -29.55, -21.98, 0.75
Darker colors
HSLA 200.88, 0.81%, 0.51%, 0.75
LABA 62.63, -8.43, -45.03, 0.75
HSLA 200.79, 0.91%, 0.44%, 0.75
LABA 56.25, -5.92, -44.53, 0.75
HSLA 201.45, 1%, 0.38%, 0.75
LABA 49.82, -2.9, -43.94, 0.75
HSLA 203.45, 1%, 0.34%, 0.75
LABA 43.31, 0.61, -43.28, 0.75
HSLA 205.94, 1%, 0.3%, 0.75
LABA 36.64, 4.37, -42.65, 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. Bright color: high color values create a bright impression.
The breakdown of the color into the RGB color system: of 255 maximum color components, 27 red, 160 green and 231 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, 66 cyan, 23 magenta, none yellow and 7 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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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 CMYK
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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®
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