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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 212 212 17 it is the complementary color RGB 43 43 238. 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 212 212 17. 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 212 212 17 shade: RGB 217 212 12, RGB 234 230 31, RGB 251 248 50, RGB 255 255 69 and RGB 255 255 88

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 212 212 17. 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 212 212 17 shade: RGB 212 212 17, RGB 195 194 0, RGB 178 176 0, RGB 161 158 0 and RGB 144 140 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 212 212 17 shade: RGB 212 212 17, RGB 212 159 17, RGB 212 107 17, RGB 212 54 17 and RGB 212 17 17

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 212 212 17 shade: RGB 212 212 17, RGB 159 212 17, RGB 107 212 17, RGB 54 212 17 and RGB 17 212 32

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 212 212 17 shade matches the following richer shades: RGB 212 212 17

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 212 212 17 shade: RGB 212 212 17, RGB 193 193 35, RGB 175 175 54, RGB 156 156 72 and RGB 138 138 91

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 212 212 17 shade: RGB 212 108 17, RGB 212 160 17, RGB 212 212 17, RGB 160 212 17 and RGB 108 212 17

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 212 212 17 shade: RGB 135 135 11, RGB 174 174 14, RGB 212 212 17, RGB 237 237 33 and RGB 240 240 71

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 212 212 17 shade: RGB 212 212 17, RGB 17 212 56 and RGB 134 17 212

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 212 212 17 shade: RGB 212 212 17, RGB 17 212 212 and RGB 212 17 212

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 212 212 17 shade: RGB 212 212 17, RGB 17 212 56, RGB 17 17 212 and RGB 212 17 173

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 212 212 17 shade: RGB 212 212 17, RGB 17 212 114, RGB 17 17 212 and RGB 212 17 114

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 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

Complementary color

CMYK 82 / 82 / 0 / 7

HEX #2B2BEE

RGB 43 43 238

HSL 240, 0.85%, 0.55%

LAB 34.83, 64.22, -94.03

 

CMYK 0 / 2 / 94 / 15

HEX #D9D40C

RGB 217 212 12

HSL 58.54, 0.9%, 0.45%

LAB 82.84, -16.51, 81.6

 

CMYK 0 / 2 / 87 / 8

HEX #EAE61F

RGB 234 230 31

HSL 58.82, 0.83%, 0.52%

LAB 89.01, -17.89, 84.31

 

CMYK 0 / 1 / 80 / 2

HEX #FBF832

RGB 251 248 50

HSL 59.1, 0.96%, 0.59%

LAB 95.11, -19.09, 85.84

 

CMYK 0 / 0 / 73 / 0

HEX #FFFF45

RGB 255 255 69

HSL 60, 1%, 0.64%

LAB 97.31, -20.15, 82.62

 

CMYK 0 / 0 / 65 / 0

HEX #FFFF58

RGB 255 255 88

HSL 60, 1%, 0.67%

LAB 97.42, -19.26, 76.23

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 0 / 1 / 100 / 24

HEX #C3C200

RGB 195 194 0

HSL 59.69, 1%, 0.38%

LAB 76.18, -17.12, 77.01

 

CMYK 0 / 1 / 100 / 30

HEX #B2B000

RGB 178 176 0

HSL 59.33, 1%, 0.35%

LAB 69.84, -15.44, 71.74

 

CMYK 0 / 2 / 100 / 37

HEX #A19E00

RGB 161 158 0

HSL 58.88, 1%, 0.32%

LAB 63.37, -13.73, 66.37

 

CMYK 0 / 3 / 100 / 44

HEX #908C00

RGB 144 140 0

HSL 58.33, 1%, 0.28%

LAB 56.77, -11.96, 60.89

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 0 / 25 / 92 / 17

HEX #D49F11

RGB 212 159 17

HSL 43.69, 0.85%, 0.45%

LAB 68.63, 8.81, 70.08

 

CMYK 0 / 50 / 92 / 17

HEX #D46B11

RGB 212 107 17

HSL 27.69, 0.85%, 0.45%

LAB 56.64, 36.58, 61.31

 

CMYK 0 / 75 / 92 / 17

HEX #D43611

RGB 212 54 17

HSL 11.38, 0.85%, 0.45%

LAB 47.85, 59.73, 55.26

 

CMYK 0 / 92 / 92 / 17

HEX #D41111

RGB 212 17 17

HSL 0, 0.85%, 0.45%

LAB 44.86, 68.2, 53.32

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 25 / 0 / 92 / 17

HEX #9FD411

RGB 159 212 17

HSL 76.31, 0.85%, 0.45%

LAB 78.75, -40.25, 76.08

 

CMYK 50 / 0 / 92 / 17

HEX #6BD411

RGB 107 212 17

HSL 92.31, 0.85%, 0.45%

LAB 76.22, -58.19, 72.98

 

CMYK 75 / 0 / 92 / 17

HEX #36D411

RGB 54 212 17

HSL 108.62, 0.85%, 0.45%

LAB 74.77, -70.18, 71.18

 

CMYK 92 / 0 / 85 / 17

HEX #11D420

RGB 17 212 32

HSL 124.62, 0.85%, 0.45%

LAB 74.39, -73.42, 67.98

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 0 / 0 / 82 / 24

HEX #C1C123

RGB 193 193 35

HSL 60, 0.69%, 0.45%

LAB 75.82, -16.87, 71.25

 

CMYK 0 / 0 / 69 / 31

HEX #AFAF36

RGB 175 175 54

HSL 60, 0.53%, 0.45%

LAB 69.5, -14.73, 58.88

 

CMYK 0 / 0 / 54 / 39

HEX #9C9C48

RGB 156 156 72

HSL 60, 0.37%, 0.45%

LAB 62.77, -11.79, 43.33

 

CMYK 0 / 0 / 34 / 46

HEX #8A8A5B

RGB 138 138 91

HSL 60, 0.21%, 0.45%

LAB 56.42, -7.71, 25.23

 

CMYK 0 / 49 / 92 / 17

HEX #D46C11

RGB 212 108 17

HSL 28, 0.85%, 0.45%

LAB 56.84, 36.07, 61.45

 

CMYK 0 / 25 / 92 / 17

HEX #D4A011

RGB 212 160 17

HSL 44, 0.85%, 0.45%

LAB 68.88, 8.28, 70.27

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 25 / 0 / 92 / 17

HEX #A0D411

RGB 160 212 17

HSL 76, 0.85%, 0.45%

LAB 78.81, -39.87, 76.16

 

CMYK 49 / 0 / 92 / 17

HEX #6CD411

RGB 108 212 17

HSL 92, 0.85%, 0.45%

LAB 76.26, -57.9, 73.03

 

CMYK 0 / 0 / 92 / 47

HEX #87870B

RGB 135 135 11

HSL 60, 0.85%, 0.29%

LAB 54.56, -13.23, 57.02

 

CMYK 0 / 0 / 92 / 32

HEX #AEAE0E

RGB 174 174 14

HSL 60, 0.85%, 0.37%

LAB 68.97, -16, 69.23

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 0 / 0 / 86 / 7

HEX #EDED21

RGB 237 237 33

HSL 60, 0.85%, 0.53%

LAB 91.09, -19.99, 85.72

 

CMYK 0 / 0 / 70 / 6

HEX #F0F047

RGB 240 240 71

HSL 60, 0.85%, 0.61%

LAB 92.27, -18.96, 76.78

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 92 / 0 / 74 / 17

HEX #11D438

RGB 17 212 56

HSL 132, 0.85%, 0.45%

LAB 74.5, -71.94, 61.18

 

CMYK 37 / 92 / 0 / 17

HEX #8611D4

RGB 134 17 212

HSL 276, 0.85%, 0.45%

LAB 38.24, 72.81, -73.23

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 92 / 0 / 0 / 17

HEX #11D4D4

RGB 17 212 212

HSL 180, 0.85%, 0.45%

LAB 77.26, -41.35, -12.19

 

CMYK 0 / 92 / 0 / 17

HEX #D411D4

RGB 212 17 212

HSL 300, 0.85%, 0.45%

LAB 50.86, 84.09, -52.18

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 92 / 0 / 74 / 17

HEX #11D438

RGB 17 212 56

HSL 132, 0.85%, 0.45%

LAB 74.5, -71.94, 61.18

 

CMYK 92 / 92 / 0 / 17

HEX #1111D4

RGB 17 17 212

HSL 240, 0.85%, 0.45%

LAB 27.5, 65.51, -91.35

 

CMYK 0 / 92 / 18 / 17

HEX #D411AD

RGB 212 17 173

HSL 312, 0.85%, 0.45%

LAB 48.78, 78.8, -32.8

 

CMYK 0 / 0 / 92 / 17

HEX #D4D411

RGB 212 212 17

HSL 60, 0.85%, 0.45%

LAB 82.45, -18.58, 80.56

 

CMYK 92 / 0 / 46 / 17

HEX #11D472

RGB 17 212 114

HSL 149.85, 0.85%, 0.45%

LAB 75.09, -64.71, 36.49

 

CMYK 92 / 92 / 0 / 17

HEX #1111D4

RGB 17 17 212

HSL 240, 0.85%, 0.45%

LAB 27.5, 65.51, -91.35

 

CMYK 0 / 92 / 46 / 17

HEX #D41172

RGB 212 17 114

HSL 330.15, 0.85%, 0.45%

LAB 46.46, 72.66, -0.7

 

Description

Color code: RGB 212 212 17 | qconv.com Color code: RGB 212 212 17 | qconv.com - big

With this color yellow stands out from the other colors. The values representing the red and green hue are greater than the third value. They are close together and exceed the value of the blue hue. Since the color values are relatively high compared to others, this hue appears lighter to us.

The breakdown of the color into the RGB color system: of 255 maximum color components, 212 red, 212 green and 17 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.
212 212 17 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, none magenta, 92 yellow and 17 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% 0% 92% 17% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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