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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 RGB 69 20 250 it is the complementary color RGB 186 235 5. 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.

Exposures are based on the same hue and represent lighter versions of the current color RGB 69 20 250. 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 RGB 69 20 250 shade: RGB 74 20 245, RGB 91 38 255, RGB 108 56 255, RGB 125 74 255 and RGB 142 92 255

You can use them to modify buttons with mouse-over effects (called :hover in CSS) or to generate other color gradations like gradients.

Shades are based on the same hue and represent a darker version of the current color RGB 69 20 250. 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 RGB 69 20 250 shade: RGB 69 20 250, RGB 52 2 231, RGB 35 0 212, RGB 18 0 193 and RGB 1 0 174

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 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 RGB 69 20 250 shade: RGB 69 20 250, RGB 131 20 250, RGB 193 20 250, RGB 250 20 245 and RGB 250 20 183

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 are created by shifting the hue towards green, blue and violet.

The following colder shades match the RGB 69 20 250 shade: RGB 69 20 250 and RGB 20 20 250

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 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 RGB 69 20 250 shade matches the following richer shades: RGB 69 20 250

An example is the development from a pale pink to a strong and bright red.

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 RGB 69 20 250 shade: RGB 69 20 250, RGB 80 39 230, RGB 91 58 211, RGB 102 78 192 and RGB 113 97 172

An example is the change of a strong blue to a subdued grey-blue or almost neutral shade.

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 RGB 69 20 250 shade: RGB 20 96 250, RGB 20 35 250, RGB 66 20 250, RGB 127 20 250 and RGB 188 20 250

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

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 RGB 69 20 250 shade: RGB 42 3 184, RGB 51 4 224, RGB 69 20 250, RGB 101 60 251 and RGB 133 100 251

Monochromatic color schemes are often found in nature. They are harmonious and calm to the eye

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 RGB 69 20 250 shade: RGB 69 20 250, RGB 250 20 158 and RGB 66 250 20

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.

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 RGB 69 20 250 shade: RGB 69 20 250, RGB 250 66 20 and RGB 20 250 66

The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent 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 RGB 69 20 250 shade: RGB 69 20 250, RGB 250 20 158, RGB 204 250 20 and RGB 20 250 112

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

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 RGB 69 20 250 shade: RGB 69 20 250, RGB 250 20 89, RGB 204 250 20 and RGB 20 250 181

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

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

Complementary color

CMYK 21 / 0 / 98 / 8

HEX #BAEB05

RGB 186 235 5

HSL 72.78, 0.96%, 0.47%

LAB 86.93, -40.08, 84.33

 

CMYK 70 / 92 / 0 / 4

HEX #4A14F5

RGB 74 20 245

HSL 254.4, 0.92%, 0.52%

LAB 35.1, 74.92, -97.49

 

CMYK 64 / 85 / 0 / 0

HEX #5B26FF

RGB 91 38 255

HSL 254.65, 1%, 0.57%

LAB 39.29, 73.5, -96.1

 

CMYK 58 / 78 / 0 / 0

HEX #6C38FF

RGB 108 56 255

HSL 255.68, 1%, 0.61%

LAB 43.12, 68.29, -89.73

 

CMYK 51 / 71 / 0 / 0

HEX #7D4AFF

RGB 125 74 255

HSL 256.91, 1%, 0.65%

LAB 47.59, 62.32, -82.31

 

CMYK 44 / 64 / 0 / 0

HEX #8E5CFF

RGB 142 92 255

HSL 258.4, 1%, 0.68%

LAB 52.54, 56.12, -74.17

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 77 / 99 / 0 / 9

HEX #3402E7

RGB 52 2 231

HSL 253.1, 0.98%, 0.46%

LAB 30.74, 73.8, -96.84

 

CMYK 83 / 100 / 0 / 17

HEX #2300D4

RGB 35 0 212

HSL 249.91, 1%, 0.42%

LAB 27.05, 69.24, -92.09

 

CMYK 91 / 100 / 0 / 24

HEX #1200C1

RGB 18 0 193

HSL 245.6, 1%, 0.38%

LAB 23.6, 64.36, -86.74

 

CMYK 99 / 100 / 0 / 32

HEX #0100AE

RGB 1 0 174

HSL 240.34, 1%, 0.34%

LAB 20.29, 59.47, -80.94

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 48 / 92 / 0 / 2

HEX #8314FA

RGB 131 20 250

HSL 268.96, 0.96%, 0.53%

LAB 41.58, 79.97, -89.39

 

CMYK 23 / 92 / 0 / 2

HEX #C114FA

RGB 193 20 250

HSL 285.13, 0.96%, 0.53%

LAB 50.38, 86.99, -74.61

 

CMYK 0 / 92 / 2 / 2

HEX #FA14F5

RGB 250 20 245

HSL 301.3, 0.96%, 0.53%

LAB 59.36, 94.74, -56.87

 

CMYK 0 / 92 / 27 / 2

HEX #FA14B7

RGB 250 20 183

HSL 317.48, 0.96%, 0.53%

LAB 56.33, 87.02, -26.38

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 92 / 92 / 0 / 2

HEX #1414FA

RGB 20 20 250

HSL 240, 0.96%, 0.53%

LAB 33.03, 74.7, -103.83

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 65 / 83 / 0 / 10

HEX #5027E6

RGB 80 39 230

HSL 252.88, 0.79%, 0.53%

LAB 35.73, 65.82, -87.91

 

CMYK 57 / 73 / 0 / 17

HEX #5B3AD3

RGB 91 58 211

HSL 252.94, 0.63%, 0.53%

LAB 37.76, 53.19, -73.64

 

CMYK 47 / 59 / 0 / 25

HEX #664EC0

RGB 102 78 192

HSL 252.63, 0.48%, 0.53%

LAB 41.34, 38.46, -56.73

 

CMYK 34 / 44 / 0 / 33

HEX #7161AC

RGB 113 97 172

HSL 252.8, 0.31%, 0.53%

LAB 45.69, 24.04, -38.01

 

CMYK 92 / 62 / 0 / 2

HEX #1460FA

RGB 20 96 250

HSL 220.17, 0.96%, 0.53%

LAB 46.2, 37.62, -82.02

 

CMYK 92 / 86 / 0 / 2

HEX #1423FA

RGB 20 35 250

HSL 236.09, 0.96%, 0.53%

LAB 34.5, 70.21, -101.37

 

CMYK 74 / 92 / 0 / 2

HEX #4214FA

RGB 66 20 250

HSL 252, 0.96%, 0.53%

LAB 35.12, 75.8, -100.28

 

CMYK 49 / 92 / 0 / 2

HEX #7F14FA

RGB 127 20 250

HSL 267.91, 0.96%, 0.53%

LAB 41.08, 79.61, -90.22

 

CMYK 25 / 92 / 0 / 2

HEX #BC14FA

RGB 188 20 250

HSL 283.83, 0.96%, 0.53%

LAB 49.61, 86.33, -75.9

 

CMYK 77 / 98 / 0 / 28

HEX #2A03B8

RGB 42 3 184

HSL 252.93, 0.97%, 0.37%

LAB 23.73, 61.91, -81.15

 

CMYK 77 / 98 / 0 / 12

HEX #3304E0

RGB 51 4 224

HSL 252.82, 0.96%, 0.45%

LAB 29.84, 71.78, -94.33

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 60 / 76 / 0 / 2

HEX #653CFB

RGB 101 60 251

HSL 252.88, 0.96%, 0.61%

LAB 42.71, 64.7, -88.19

 

CMYK 47 / 60 / 0 / 2

HEX #8564FB

RGB 133 100 251

HSL 253.11, 0.95%, 0.69%

LAB 53.02, 49.03, -71.21

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 0 / 92 / 37 / 2

HEX #FA149E

RGB 250 20 158

HSL 324, 0.96%, 0.53%

LAB 55.37, 84.48, -13.2

 

CMYK 74 / 0 / 92 / 2

HEX #42FA14

RGB 66 250 20

HSL 108, 0.96%, 0.53%

LAB 86.79, -79.44, 80.9

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 0 / 74 / 92 / 2

HEX #FA4214

RGB 250 66 20

HSL 12, 0.96%, 0.53%

LAB 56.36, 67.43, 63.3

 

CMYK 92 / 0 / 74 / 2

HEX #14FA42

RGB 20 250 66

HSL 132, 0.96%, 0.53%

LAB 86.46, -81.71, 69.84

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 0 / 92 / 37 / 2

HEX #FA149E

RGB 250 20 158

HSL 324, 0.96%, 0.53%

LAB 55.37, 84.48, -13.2

 

CMYK 18 / 0 / 92 / 2

HEX #CCFA14

RGB 204 250 20

HSL 72, 0.96%, 0.53%

LAB 92.25, -39.55, 87.58

 

CMYK 92 / 0 / 55 / 2

HEX #14FA70

RGB 20 250 112

HSL 144, 0.96%, 0.53%

LAB 86.84, -76.91, 51.96

 

CMYK 72 / 92 / 0 / 2

HEX #4514FA

RGB 69 20 250

HSL 252.78, 0.96%, 0.53%

LAB 35.34, 75.92, -99.92

 

CMYK 0 / 92 / 64 / 2

HEX #FA1459

RGB 250 20 89

HSL 342, 0.96%, 0.53%

LAB 53.54, 79.5, 25.57

 

CMYK 18 / 0 / 92 / 2

HEX #CCFA14

RGB 204 250 20

HSL 72, 0.96%, 0.53%

LAB 92.25, -39.55, 87.58

 

CMYK 92 / 0 / 28 / 2

HEX #14FAB5

RGB 20 250 181

HSL 162, 0.96%, 0.53%

LAB 87.9, -64.56, 19.54

 

Description

Color code: RGB 69 20 250 | qconv.com Color code: RGB 69 20 250 | qconv.com - big

With this color blue stands out from the other colors. The value that represents the blue hue is greater than the other two values. It is far different from the value for the red and green hue. Since the color values are relatively low compared to others, this hue appears darker to us.

The breakdown of the color into the RGB color system: of 255 maximum color components, 69 red, 20 green and 250 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.
69 20 250 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, 72 cyan, 92 magenta, none yellow and 2 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.
72% 92% 0% 2% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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