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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 41 149 120 0.75 it is the complementary color RGBA 214 106 135 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 41 149 120 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 41 149 120 0.75 shade: RGBA 46 149 115 0.75, RGBA 63 167 134 0.75, RGBA 80 185 153 0.75, RGBA 97 203 172 0.75 and RGBA 114 221 191 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 41 149 120 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 41 149 120 0.75 shade: RGBA 41 149 120 0.75, RGBA 24 131 101 0.75, RGBA 7 113 82 0.75, RGBA 0 95 63 0.75 and RGBA 0 77 44 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 41 149 120 0.75 shade: RGB 41 148 119, RGB 41 148 90, RGB 41 148 61, RGB 49 148 41 and RGB 78 148 41
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 41 149 120 0.75 shade: RGB 41 148 119, RGB 41 148 148, RGB 41 119 148, RGB 41 90 148 and RGB 41 61 148
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 41 149 120 0.75 shade matches the following richer shades: RGB 41 148 119, RGB 25 163 126 and RGB 10 179 133
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 41 149 120 0.75 shade: RGB 41 148 119, RGB 56 133 112, RGB 71 118 105, RGB 86 102 98 and RGB 102 87 91
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 41 149 120 0.75 shade: RGB 41 148 60, RGB 41 148 89, RGB 41 148 118, RGB 41 148 146 and RGB 41 121 148
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 41 149 120 0.75 shade: RGB 23 83 67, RGB 32 116 93, RGB 41 148 119, RGB 49 181 145 and RGB 68 204 167
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 41 149 120 0.75 shade: RGB 41 149 120, RGB 41 50 148 and RGB 148 75 41
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 41 149 120 0.75 shade: RGB 41 149 120, RGB 118 41 148 and RGB 148 118 41
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 41 149 120 0.75 shade: RGB 41 149 120, RGB 41 50 148, RGB 148 41 71 and RGB 148 139 41
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 41 149 120 0.75 shade: RGB 41 149 120, RGB 64 41 148, RGB 148 41 71 and RGB 125 148 41
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 163.89, 0.57%, 0.37%, 0.75
LABA 55.4, -37.26, 6.69, 0.75
Complementary color
HSLA 343.89, 0.57%, 0.63%, 0.75
LABA 58.37, 45.37, 4.08, 0.75
Lighter colors
HSLA 160.19, 0.53%, 0.38%, 0.75
LABA 55.39, -37.72, 9.53, 0.75
HSLA 160.96, 0.45%, 0.45%, 0.75
LABA 62.01, -38.01, 8.29, 0.75
HSLA 161.71, 0.43%, 0.52%, 0.75
LABA 68.54, -38.12, 7.18, 0.75
HSLA 162.45, 0.5%, 0.59%, 0.75
LABA 74.97, -38.11, 6.17, 0.75
HSLA 163.18, 0.61%, 0.66%, 0.75
LABA 81.32, -38.04, 5.24, 0.75
Darker colors
HSLA 163.89, 0.57%, 0.37%, 0.75
LABA 55.4, -37.26, 6.69, 0.75
HSLA 163.18, 0.69%, 0.3%, 0.75
LABA 48.72, -36.47, 8.08, 0.75
HSLA 162.45, 0.88%, 0.24%, 0.75
LABA 41.95, -35.15, 9.69, 0.75
HSLA 159.79, 1%, 0.19%, 0.75
LABA 35.09, -33, 11.61, 0.75
HSLA 154.29, 1%, 0.15%, 0.75
LABA 28.09, -30.13, 13.79, 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
Dark color: low color values appear darker.
The breakdown of the color into the RGB color system: of 255 maximum color components, 41 red, 149 green and 120 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, 54 cyan, none magenta, 15 yellow and 31 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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PANTONE® to HKS®
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PANTONE® to Sherwin Williams®
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Sherwin Williams® to CMYK
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