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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 51 53 129 0.81 it is the complementary color RGBA 204 202 126 0.81. 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 51 53 129 0.81. 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 51 53 129 0.81 shade: RGBA 56 53 124 0.81, RGBA 73 71 143 0.81, RGBA 90 89 162 0.81, RGBA 107 107 181 0.81 and RGBA 124 125 200 0.81
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 51 53 129 0.81. 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 51 53 129 0.81 shade: RGBA 51 53 129 0.81, RGBA 34 35 110 0.81, RGBA 17 17 91 0.81, RGBA 0 0 72 0.81 and RGBA 0 0 53 0.81
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 51 53 129 0.81 shade: RGB 51 53 128, RGB 70 51 128, RGB 90 51 128, RGB 111 51 128 and RGB 128 51 124
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 51 53 129 0.81 shade: RGB 51 53 128 and RGB 51 51 128
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 51 53 129 0.81 shade matches the following richer shades: RGB 51 53 128, RGB 36 39 142, RGB 22 25 157 and RGB 8 12 171
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 51 53 129 0.81 shade: RGB 51 53 128, RGB 65 67 113, RGB 80 80 99, RGB 94 94 84 and RGB 109 108 70
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 51 53 129 0.81 shade: RGB 51 94 128, RGB 51 74 128, RGB 51 53 128, RGB 69 51 128 and RGB 89 51 128
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 51 53 129 0.81 shade: RGB 27 28 69, RGB 39 41 98, RGB 51 53 128, RGB 63 65 157 and RGB 77 80 184
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 51 53 129 0.81 shade: RGB 51 53 129, RGB 128 51 115 and RGB 84 128 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.
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 51 53 129 0.81 shade: RGB 51 53 129, RGB 128 51 53 and RGB 53 128 51
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 51 53 129 0.81 shade: RGB 51 53 129, RGB 128 51 115, RGB 128 125 51 and RGB 51 128 64
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 51 53 129 0.81 shade: RGB 51 53 129, RGB 128 51 92, RGB 128 125 51 and RGB 51 128 87
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 238.46, 0.43%, 0.35%, 0.81
LABA 26.26, 23.37, -43.34, 0.81
Complementary color
HSLA 58.46, 0.43%, 0.65%, 0.81
LABA 79.95, -10.5, 38.18, 0.81
Lighter colors
HSLA 242.54, 0.4%, 0.35%, 0.81
LABA 26.28, 22.67, -40.14, 0.81
HSLA 241.67, 0.34%, 0.42%, 0.81
LABA 33.79, 21.12, -39.79, 0.81
HSLA 240.82, 0.29%, 0.49%, 0.81
LABA 41.1, 19.88, -39.5, 0.81
HSLA 240, 0.33%, 0.56%, 0.81
LABA 48.23, 18.85, -39.28, 0.81
HSLA 239.21, 0.41%, 0.64%, 0.81
LABA 55.2, 17.98, -39.12, 0.81
Darker colors
HSLA 238.46, 0.43%, 0.35%, 0.81
LABA 26.26, 23.37, -43.34, 0.81
HSLA 239.21, 0.53%, 0.28%, 0.81
LABA 18.66, 25.6, -43.65, 0.81
HSLA 240, 0.69%, 0.21%, 0.81
LABA 11.1, 28.22, -43.57, 0.81
HSLA 240, 1%, 0.14%, 0.81
LABA 4.23, 28.26, -41.9, 0.81
HSLA 240, 1%, 0.1%, 0.81
LABA 2.32, 16.32, -31.29, 0.81
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, 51 red, 53 green and 129 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, 49 cyan, 48 magenta, none yellow and 40 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®
convert from Pantone®-number (Pantone 0000) to Sherwin Williams®-number (SW 0000)
PANTONE® to NCS®
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Sherwin Williams® to RGB
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Sherwin Williams® to CMYK
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