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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 213 11 28 it is the complementary color RGB 42 244 227. 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 213 11 28. 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 213 11 28 shade: RGB 218 11 23, RGB 235 29 42, RGB 252 47 61, RGB 255 65 80 and RGB 255 83 99

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 213 11 28. 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 213 11 28 shade: RGB 213 11 28, RGB 196 0 9, RGB 179 0 0, RGB 162 0 0 and RGB 145 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 213 11 28 shade: RGB 213 11 28 and RGB 213 11 11

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 213 11 28 shade: RGB 213 11 28, RGB 213 11 82, RGB 213 11 137, RGB 213 11 191 and RGB 180 11 213

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 213 11 28 shade matches the following richer shades: RGB 213 11 28

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 213 11 28 shade: RGB 213 11 28, RGB 195 29 43, RGB 176 47 58, RGB 158 65 73 and RGB 140 83 88

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 213 11 28 shade: RGB 213 11 139, RGB 213 11 85, RGB 213 11 31, RGB 213 44 11 and RGB 213 98 11

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 213 11 28 shade: RGB 134 7 17, RGB 173 9 23, RGB 213 11 28, RGB 242 22 41 and RGB 244 62 77

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 213 11 28 shade: RGB 213 11 28, RGB 192 213 11 and RGB 11 112 213

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 213 11 28 shade: RGB 213 11 28, RGB 31 213 11 and RGB 11 31 213

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 213 11 28 shade: RGB 213 11 28, RGB 192 213 11, RGB 11 213 192 and RGB 31 11 213

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 213 11 28 shade: RGB 213 11 28, RGB 132 213 11, RGB 11 213 192 and RGB 92 11 213

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 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

Complementary color

CMYK 83 / 0 / 7 / 4

HEX #2AF4E3

RGB 42 244 227

HSL 174.95, 0.9%, 0.56%

LAB 87.36, -49.64, -5.11

 

CMYK 0 / 95 / 89 / 15

HEX #DA0B17

RGB 218 11 23

HSL 356.52, 0.9%, 0.45%

LAB 45.92, 70.45, 52.22

 

CMYK 0 / 88 / 82 / 8

HEX #EB1D2A

RGB 235 29 42

HSL 356.21, 0.84%, 0.52%

LAB 50.34, 72.82, 48.18

 

CMYK 0 / 81 / 76 / 1

HEX #FC2F3D

RGB 252 47 61

HSL 355.9, 0.97%, 0.59%

LAB 55.14, 74.21, 43.88

 

CMYK 0 / 75 / 69 / 0

HEX #FF4150

RGB 255 65 80

HSL 355.26, 1%, 0.63%

LAB 57.67, 70.91, 36.24

 

CMYK 0 / 67 / 61 / 0

HEX #FF5363

RGB 255 83 99

HSL 354.42, 1%, 0.66%

LAB 60.2, 65.77, 28.5

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 100 / 95 / 23

HEX #C40009

RGB 196 0 9

HSL 357.24, 1%, 0.38%

LAB 40.82, 65.8, 51.97

 

CMYK 0 / 100 / 100 / 30

HEX #B30000

RGB 179 0 0

HSL 0, 1%, 0.35%

LAB 37.08, 61.42, 51.49

 

CMYK 0 / 100 / 100 / 36

HEX #A20000

RGB 162 0 0

HSL 0, 1%, 0.32%

LAB 33.31, 57.06, 47.46

 

CMYK 0 / 100 / 100 / 43

HEX #910000

RGB 145 0 0

HSL 0, 1%, 0.28%

LAB 29.46, 52.6, 42.98

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 95 / 95 / 16

HEX #D50B0B

RGB 213 11 11

HSL 0, 0.9%, 0.44%

LAB 44.81, 69.05, 55.44

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 95 / 62 / 16

HEX #D50B52

RGB 213 11 82

HSL 338.91, 0.9%, 0.44%

LAB 45.63, 71.3, 18.04

 

CMYK 0 / 95 / 36 / 16

HEX #D50B89

RGB 213 11 137

HSL 322.57, 0.9%, 0.44%

LAB 47.22, 75.59, -13.63

 

CMYK 0 / 95 / 10 / 16

HEX #D50BBF

RGB 213 11 191

HSL 306.53, 0.9%, 0.44%

LAB 49.67, 81.89, -41.93

 

CMYK 15 / 95 / 0 / 16

HEX #B40BD5

RGB 180 11 213

HSL 290.2, 0.9%, 0.44%

LAB 45.29, 79.84, -62.01

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 85 / 78 / 24

HEX #C31D2B

RGB 195 29 43

HSL 354.94, 0.74%, 0.44%

LAB 42.24, 62.26, 36.85

 

CMYK 0 / 73 / 67 / 31

HEX #B02F3A

RGB 176 47 58

HSL 354.88, 0.58%, 0.44%

LAB 40.52, 52.19, 24.9

 

CMYK 0 / 59 / 54 / 38

HEX #9E4149

RGB 158 65 73

HSL 354.84, 0.42%, 0.44%

LAB 40.46, 39.41, 14.92

 

CMYK 0 / 41 / 37 / 45

HEX #8C5358

RGB 140 83 88

HSL 354.74, 0.26%, 0.44%

LAB 41.95, 24.39, 7.29

 

CMYK 0 / 95 / 35 / 16

HEX #D50B8B

RGB 213 11 139

HSL 321.98, 0.9%, 0.44%

LAB 47.3, 75.79, -14.73

 

CMYK 0 / 95 / 60 / 16

HEX #D50B55

RGB 213 11 85

HSL 338.02, 0.9%, 0.44%

LAB 45.69, 71.47, 16.25

 

CMYK 0 / 95 / 85 / 16

HEX #D50B1F

RGB 213 11 31

HSL 354.06, 0.9%, 0.44%

LAB 44.92, 69.34, 47.25

 

CMYK 0 / 79 / 95 / 16

HEX #D52C0B

RGB 213 44 11

HSL 9.8, 0.9%, 0.44%

LAB 46.94, 62.99, 56.61

 

CMYK 0 / 54 / 95 / 16

HEX #D5620B

RGB 213 98 11

HSL 25.84, 0.9%, 0.44%

LAB 54.98, 41.43, 61.58

 

CMYK 0 / 95 / 87 / 47

HEX #860711

RGB 134 7 17

HSL 355.28, 0.9%, 0.28%

LAB 27.47, 48.76, 32.8

 

CMYK 0 / 95 / 87 / 32

HEX #AD0917

RGB 173 9 23

HSL 354.88, 0.9%, 0.36%

LAB 36.26, 59.13, 40.57

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 0 / 91 / 83 / 5

HEX #F21629

RGB 242 22 41

HSL 354.82, 0.89%, 0.52%

LAB 51.39, 75.59, 50.18

 

CMYK 0 / 75 / 68 / 4

HEX #F43E4D

RGB 244 62 77

HSL 355.05, 0.89%, 0.6%

LAB 55.29, 68.55, 34.61

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 10 / 0 / 95 / 16

HEX #C0D50B

RGB 192 213 11

HSL 66.24, 0.9%, 0.44%

LAB 81.19, -27.53, 79.6

 

CMYK 95 / 47 / 0 / 16

HEX #0B70D5

RGB 11 112 213

HSL 210, 0.9%, 0.44%

LAB 47.58, 12.79, -58.94

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 85 / 0 / 95 / 16

HEX #1FD50B

RGB 31 213 11

HSL 114.06, 0.9%, 0.44%

LAB 74.76, -73.36, 71.77

 

CMYK 95 / 85 / 0 / 16

HEX #0B1FD5

RGB 11 31 213

HSL 234.06, 0.9%, 0.44%

LAB 29.04, 61.05, -89.36

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 10 / 0 / 95 / 16

HEX #C0D50B

RGB 192 213 11

HSL 66.24, 0.9%, 0.44%

LAB 81.19, -27.53, 79.6

 

CMYK 95 / 0 / 10 / 16

HEX #0BD5C0

RGB 11 213 192

HSL 173.76, 0.9%, 0.44%

LAB 76.96, -47.69, -1.89

 

CMYK 85 / 95 / 0 / 16

HEX #1F0BD5

RGB 31 11 213

HSL 245.94, 0.9%, 0.44%

LAB 27.67, 67.36, -91.64

 

CMYK 0 / 95 / 87 / 16

HEX #D50B1C

RGB 213 11 28

HSL 354.95, 0.9%, 0.44%

LAB 44.9, 69.28, 48.71

 

CMYK 38 / 0 / 95 / 16

HEX #84D50B

RGB 132 213 11

HSL 84.06, 0.9%, 0.44%

LAB 77.59, -50.67, 75.24

 

CMYK 95 / 0 / 10 / 16

HEX #0BD5C0

RGB 11 213 192

HSL 173.76, 0.9%, 0.44%

LAB 76.96, -47.69, -1.89

 

CMYK 57 / 95 / 0 / 16

HEX #5C0BD5

RGB 92 11 213

HSL 264.06, 0.9%, 0.44%

LAB 32.52, 70.02, -83.43

 

Description

Color code: RGB 213 11 28 | qconv.com Color code: RGB 213 11 28 | 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, 213 red, 11 green and 28 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.
213 11 28 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, 95 magenta, 87 yellow and 16 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% 95% 87% 16% C M Y K

Verification of their color palette as a manufacturer!

Provide designers and agencies with accurate color values.

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