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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 195 47 22 it is the complementary color RGB 60 208 233. 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 195 47 22. 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 195 47 22 shade: RGB 200 47 17, RGB 217 65 36, RGB 234 83 55, RGB 251 101 74 and RGB 255 119 93

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 195 47 22. 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 195 47 22 shade: RGB 195 47 22, RGB 178 29 3, RGB 161 11 0, RGB 144 0 0 and RGB 127 0 0

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 195 47 22 shade: RGB 197 47 21 and RGB 197 21 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 are created by shifting the hue towards green, blue and violet.

The following colder shades match the RGB 195 47 22 shade: RGB 197 47 21, RGB 197 94 21, RGB 197 141 21, RGB 197 189 21 and RGB 158 197 21

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 195 47 22 shade matches the following richer shades: RGB 197 47 21 and RGB 215 34 4

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 195 47 22 shade: RGB 197 47 21, RGB 179 59 39, RGB 161 72 57, RGB 144 85 75 and RGB 126 97 92

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 195 47 22 shade: RGB 197 21 92, RGB 197 21 45, RGB 197 45 21, RGB 197 92 21 and RGB 197 138 21

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 195 47 22 shade: RGB 123 29 13, RGB 160 38 17, RGB 197 47 21, RGB 230 59 30 and RGB 234 91 67

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 195 47 22 shade: RGB 195 47 22, RGB 138 197 21 and RGB 21 68 197

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 195 47 22 shade: RGB 195 47 22, RGB 21 197 45 and RGB 45 21 197

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 195 47 22 shade: RGB 195 47 22, RGB 138 197 21, RGB 21 173 197 and RGB 80 21 197

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 195 47 22 shade: RGB 195 47 22, RGB 86 197 21, RGB 21 173 197 and RGB 133 21 197

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 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

Complementary color

CMYK 74 / 11 / 0 / 9

HEX #3CD0E9

RGB 60 208 233

HSL 188.67, 0.8%, 0.57%

LAB 77.25, -30.01, -23.41

 

CMYK 0 / 77 / 92 / 22

HEX #C82F11

RGB 200 47 17

HSL 9.84, 0.84%, 0.43%

LAB 44.73, 58.3, 52.07

 

CMYK 0 / 70 / 83 / 15

HEX #D94124

RGB 217 65 36

HSL 9.61, 0.72%, 0.5%

LAB 50.29, 57.8, 49.82

 

CMYK 0 / 65 / 76 / 8

HEX #EA5337

RGB 234 83 55

HSL 9.39, 0.81%, 0.57%

LAB 56.04, 56.89, 47.06

 

CMYK 0 / 60 / 71 / 2

HEX #FB654A

RGB 251 101 74

HSL 9.15, 0.96%, 0.64%

LAB 61.92, 55.76, 44.35

 

CMYK 0 / 53 / 64 / 0

HEX #FF775D

RGB 255 119 93

HSL 9.63, 1%, 0.68%

LAB 65.94, 49.94, 39.06

 

CMYK 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

CMYK 0 / 84 / 98 / 30

HEX #B21D03

RGB 178 29 3

HSL 8.91, 0.97%, 0.35%

LAB 38.46, 56.65, 50.77

 

CMYK 0 / 93 / 100 / 37

HEX #A10B00

RGB 161 11 0

HSL 4.1, 1%, 0.32%

LAB 33.6, 55.32, 47.52

 

CMYK 0 / 100 / 100 / 44

HEX #900000

RGB 144 0 0

HSL 0, 1%, 0.28%

LAB 29.23, 52.34, 42.7

 

CMYK 0 / 100 / 100 / 50

HEX #7F0000

RGB 127 0 0

HSL 0, 1%, 0.25%

LAB 25.3, 47.78, 37.76

 

CMYK 0 / 76 / 89 / 23

HEX #C52F15

RGB 197 47 21

HSL 8.86, 0.81%, 0.43%

LAB 44.17, 57.45, 49.86

 

CMYK 0 / 89 / 89 / 23

HEX #C51515

RGB 197 21 21

HSL 0, 0.81%, 0.43%

LAB 41.94, 63.77, 48.2

 

CMYK 0 / 76 / 89 / 23

HEX #C52F15

RGB 197 47 21

HSL 8.86, 0.81%, 0.43%

LAB 44.17, 57.45, 49.86

 

CMYK 0 / 52 / 89 / 23

HEX #C55E15

RGB 197 94 21

HSL 24.89, 0.81%, 0.43%

LAB 51.76, 37.29, 55.59

 

CMYK 0 / 28 / 89 / 23

HEX #C58D15

RGB 197 141 21

HSL 40.91, 0.81%, 0.43%

LAB 62.49, 12, 63.87

 

CMYK 0 / 4 / 89 / 23

HEX #C5BD15

RGB 197 189 21

HSL 57.27, 0.81%, 0.43%

LAB 75.03, -13.46, 73.68

 

CMYK 20 / 0 / 89 / 23

HEX #9EC515

RGB 158 197 21

HSL 73.3, 0.81%, 0.43%

LAB 74.35, -33.81, 71.92

 

CMYK 0 / 76 / 89 / 23

HEX #C52F15

RGB 197 47 21

HSL 8.86, 0.81%, 0.43%

LAB 44.17, 57.45, 49.86

 

CMYK 0 / 84 / 98 / 16

HEX #D72204

RGB 215 34 4

HSL 8.53, 0.96%, 0.43%

LAB 46.45, 65.96, 58.5

 

CMYK 0 / 76 / 89 / 23

HEX #C52F15

RGB 197 47 21

HSL 8.86, 0.81%, 0.43%

LAB 44.17, 57.45, 49.86

 

CMYK 0 / 67 / 78 / 30

HEX #B33B27

RGB 179 59 39

HSL 8.57, 0.64%, 0.43%

LAB 42.55, 47.59, 38.47

 

CMYK 0 / 55 / 65 / 37

HEX #A14839

RGB 161 72 57

HSL 8.65, 0.48%, 0.43%

LAB 42.01, 35.77, 26.77

 

CMYK 0 / 41 / 48 / 44

HEX #90554B

RGB 144 85 75

HSL 8.7, 0.32%, 0.43%

LAB 42.66, 23.33, 16.31

 

CMYK 0 / 23 / 27 / 51

HEX #7E615C

RGB 126 97 92

HSL 8.82, 0.16%, 0.43%

LAB 43.88, 10.94, 7.36

 

CMYK 0 / 89 / 53 / 23

HEX #C5155C

RGB 197 21 92

HSL 335.8, 0.81%, 0.43%

LAB 43.03, 66.87, 7.68

 

CMYK 0 / 89 / 77 / 23

HEX #C5152D

RGB 197 21 45

HSL 351.82, 0.81%, 0.43%

LAB 42.15, 64.37, 35.7

 

CMYK 0 / 77 / 89 / 23

HEX #C52D15

RGB 197 45 21

HSL 8.18, 0.81%, 0.43%

LAB 43.95, 58.08, 49.69

 

CMYK 0 / 53 / 89 / 23

HEX #C55C15

RGB 197 92 21

HSL 24.2, 0.81%, 0.43%

LAB 51.36, 38.3, 55.29

 

CMYK 0 / 30 / 89 / 23

HEX #C58A15

RGB 197 138 21

HSL 39.89, 0.81%, 0.43%

LAB 61.74, 13.64, 63.29

 

CMYK 0 / 76 / 89 / 52

HEX #7B1D0D

RGB 123 29 13

HSL 8.73, 0.81%, 0.27%

LAB 27.07, 39.52, 33.64

 

CMYK 0 / 76 / 89 / 37

HEX #A02611

RGB 160 38 17

HSL 8.81, 0.81%, 0.35%

LAB 35.79, 48.7, 41.97

 

CMYK 0 / 76 / 89 / 23

HEX #C52F15

RGB 197 47 21

HSL 8.86, 0.81%, 0.43%

LAB 44.17, 57.45, 49.86

 

CMYK 0 / 74 / 87 / 10

HEX #E63B1E

RGB 230 59 30

HSL 8.7, 0.8%, 0.51%

LAB 51.89, 63.81, 54.8

 

CMYK 0 / 61 / 71 / 8

HEX #EA5B43

RGB 234 91 67

HSL 8.62, 0.8%, 0.59%

LAB 57.44, 53.98, 42.27

 

CMYK 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

CMYK 30 / 0 / 89 / 23

HEX #8AC515

RGB 138 197 21

HSL 80.11, 0.81%, 0.43%

LAB 73.15, -41.64, 70.43

 

CMYK 89 / 65 / 0 / 23

HEX #1544C5

RGB 21 68 197

HSL 223.98, 0.81%, 0.43%

LAB 34.65, 35.64, -70.76

 

CMYK 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

CMYK 89 / 0 / 77 / 23

HEX #15C52D

RGB 21 197 45

HSL 128.18, 0.81%, 0.43%

LAB 69.67, -68.2, 60.06

 

CMYK 77 / 89 / 0 / 23

HEX #2D15C5

RGB 45 21 197

HSL 248.18, 0.81%, 0.43%

LAB 27.09, 61.06, -83.24

 

CMYK 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

CMYK 30 / 0 / 89 / 23

HEX #8AC515

RGB 138 197 21

HSL 80.11, 0.81%, 0.43%

LAB 73.15, -41.64, 70.43

 

CMYK 89 / 12 / 0 / 23

HEX #15ADC5

RGB 21 173 197

HSL 188.18, 0.81%, 0.43%

LAB 65.02, -27.48, -22.49

 

CMYK 59 / 89 / 0 / 23

HEX #5015C5

RGB 80 21 197

HSL 260.11, 0.81%, 0.43%

LAB 30.09, 63.2, -78.17

 

CMYK 0 / 76 / 89 / 24

HEX #C32F16

RGB 195 47 22

HSL 8.67, 0.8%, 0.43%

LAB 43.79, 56.85, 48.99

 

CMYK 56 / 0 / 89 / 23

HEX #56C515

RGB 86 197 21

HSL 97.84, 0.81%, 0.43%

LAB 70.85, -58.58, 67.58

 

CMYK 89 / 12 / 0 / 23

HEX #15ADC5

RGB 21 173 197

HSL 188.18, 0.81%, 0.43%

LAB 65.02, -27.48, -22.49

 

CMYK 32 / 89 / 0 / 23

HEX #8515C5

RGB 133 21 197

HSL 278.18, 0.81%, 0.43%

LAB 37.03, 68.91, -66.5

 

Description

Color code: RGB 195 47 22 | qconv.com Color code: RGB 195 47 22 | qconv.com - big

With this color, red stands out from the other colors. The value that represents the red hue is greater than the other two values. It is far different from the value for the green and blue 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, 195 red, 47 green and 22 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.
195 47 22 R G B
In the CMYK color system the color is composed as follows: In this color tone, out of 100 maximum color components, none cyan, 76 magenta, 89 yellow and 24 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.
0% 76% 89% 24% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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