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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 249 128 149 it is the complementary color RGB 6 127 106. 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 249 128 149. 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 249 128 149 shade: RGB 254 128 144, RGB 255 146 163, RGB 255 164 182, RGB 255 182 201 and RGB 255 200 220

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 249 128 149. 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 249 128 149 shade: RGB 249 128 149, RGB 232 110 130, RGB 215 92 111, RGB 198 74 92 and RGB 181 56 73

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 249 128 149 shade: RGB 249 128 149 and RGB 249 128 128

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 249 128 149 shade: RGB 249 128 149, RGB 249 128 181, RGB 249 128 214, RGB 249 128 246 and RGB 218 128 249

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 249 128 149 shade matches the following richer shades: RGB 249 128 149

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 249 128 149 shade: RGB 249 128 149, RGB 238 139 156, RGB 227 149 163, RGB 216 160 170 and RGB 206 171 177

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 249 128 149 shade: RGB 249 128 214, RGB 249 128 182, RGB 249 128 150, RGB 249 138 128 and RGB 249 170 128

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

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 249 128 149 shade: RGB 245 49 83, RGB 247 88 116, RGB 249 128 149, RGB 250 167 182 and RGB 252 207 215

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 249 128 149 shade: RGB 249 128 149, RGB 247 249 128 and RGB 128 198 249

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 249 128 149 shade: RGB 249 128 149, RGB 150 249 128 and RGB 128 150 249

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 249 128 149 shade: RGB 249 128 149, RGB 247 249 128, RGB 128 249 226 and RGB 130 128 249

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 249 128 149 shade: RGB 249 128 149, RGB 210 249 128, RGB 128 249 226 and RGB 166 128 249

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 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

Complementary color

CMYK 95 / 0 / 17 / 50

HEX #067F6A

RGB 6 127 106

HSL 169.59, 0.91%, 0.26%

LAB 47.31, -34.78, 3.11

 

CMYK 0 / 50 / 43 / 0

HEX #FE8090

RGB 254 128 144

HSL 352.38, 0.98%, 0.75%

LAB 68.4, 49.35, 13.96

 

CMYK 0 / 43 / 36 / 0

HEX #FF92A3

RGB 255 146 163

HSL 350.64, 1%, 0.79%

LAB 72.54, 42.79, 9.21

 

CMYK 0 / 36 / 29 / 0

HEX #FFA4B6

RGB 255 164 182

HSL 348.13, 1%, 0.82%

LAB 76.79, 35.89, 4.85

 

CMYK 0 / 29 / 21 / 0

HEX #FFB6C9

RGB 255 182 201

HSL 344.38, 1%, 0.86%

LAB 81.25, 29.11, 1

 

CMYK 0 / 22 / 14 / 0

HEX #FFC8DC

RGB 255 200 220

HSL 338.18, 1%, 0.89%

LAB 85.87, 22.54, -2.42

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 53 / 44 / 9

HEX #E86E82

RGB 232 110 130

HSL 350.16, 0.73%, 0.67%

LAB 61.58, 49.07, 11.9

 

CMYK 0 / 57 / 48 / 16

HEX #D75C6F

RGB 215 92 111

HSL 350.73, 0.61%, 0.6%

LAB 55.33, 49.98, 13.83

 

CMYK 0 / 63 / 54 / 22

HEX #C64A5C

RGB 198 74 92

HSL 351.29, 0.52%, 0.53%

LAB 49.1, 50.77, 16.14

 

CMYK 0 / 69 / 60 / 29

HEX #B53849

RGB 181 56 73

HSL 351.84, 0.53%, 0.46%

LAB 42.96, 51.31, 18.97

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 49 / 49 / 2

HEX #F98080

RGB 249 128 128

HSL 0, 0.91%, 0.74%

LAB 67.38, 46.06, 21.42

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 49 / 27 / 2

HEX #F980B5

RGB 249 128 181

HSL 333.72, 0.91%, 0.74%

LAB 68.69, 51.94, -6.54

 

CMYK 0 / 49 / 14 / 2

HEX #F980D6

RGB 249 128 214

HSL 317.36, 0.91%, 0.74%

LAB 69.78, 56.61, -23.33

 

CMYK 0 / 49 / 1 / 2

HEX #F980F6

RGB 249 128 246

HSL 301.49, 0.91%, 0.74%

LAB 71.03, 61.79, -39.02

 

CMYK 12 / 49 / 0 / 2

HEX #DA80F9

RGB 218 128 249

HSL 284.63, 0.91%, 0.74%

LAB 67.41, 53.88, -46.6

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 42 / 34 / 7

HEX #EE8B9C

RGB 238 139 156

HSL 349.7, 0.74%, 0.74%

LAB 68.78, 39.51, 7.46

 

CMYK 0 / 34 / 28 / 11

HEX #E395A3

RGB 227 149 163

HSL 349.23, 0.58%, 0.74%

LAB 69.8, 31.18, 4.84

 

CMYK 0 / 26 / 21 / 15

HEX #D8A0AA

RGB 216 160 170

HSL 349.29, 0.42%, 0.74%

LAB 71.31, 22.23, 2.98

 

CMYK 0 / 17 / 14 / 19

HEX #CEABB1

RGB 206 171 177

HSL 349.71, 0.26%, 0.74%

LAB 73.17, 13.69, 1.7

 

CMYK 0 / 49 / 14 / 2

HEX #F980D6

RGB 249 128 214

HSL 317.36, 0.91%, 0.74%

LAB 69.78, 56.61, -23.33

 

CMYK 0 / 49 / 27 / 2

HEX #F980B6

RGB 249 128 182

HSL 333.22, 0.91%, 0.74%

LAB 68.72, 52.07, -7.06

 

CMYK 0 / 49 / 40 / 2

HEX #F98096

RGB 249 128 150

HSL 349.09, 0.91%, 0.74%

LAB 67.86, 48.24, 9.71

 

CMYK 0 / 45 / 49 / 2

HEX #F98A80

RGB 249 138 128

HSL 4.96, 0.91%, 0.74%

LAB 69.38, 41.05, 24.13

 

CMYK 0 / 32 / 49 / 2

HEX #F9AA80

RGB 249 170 128

HSL 20.83, 0.91%, 0.74%

LAB 76.34, 24.45, 33.35

 

CMYK 0 / 80 / 66 / 4

HEX #F53153

RGB 245 49 83

HSL 349.59, 0.91%, 0.58%

LAB 54.27, 72.77, 29.89

 

CMYK 0 / 64 / 53 / 3

HEX #F75874

RGB 247 88 116

HSL 349.43, 0.91%, 0.66%

LAB 59.9, 62.53, 18.02

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 0 / 33 / 27 / 2

HEX #FAA7B6

RGB 250 167 182

HSL 349.16, 0.89%, 0.82%

LAB 76.88, 32.54, 4.91

 

CMYK 0 / 18 / 15 / 1

HEX #FCCFD7

RGB 252 207 215

HSL 349.33, 0.88%, 0.9%

LAB 87.11, 17.04, 2.01

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 1 / 0 / 49 / 2

HEX #F7F980

RGB 247 249 128

HSL 60.99, 0.91%, 0.74%

LAB 95.62, -16.76, 57.28

 

CMYK 49 / 20 / 0 / 2

HEX #80C6F9

RGB 128 198 249

HSL 205.29, 0.91%, 0.74%

LAB 77.17, -8.48, -31.93

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 40 / 0 / 49 / 2

HEX #96F980

RGB 150 249 128

HSL 109.09, 0.91%, 0.74%

LAB 89.76, -51.31, 48.83

 

CMYK 49 / 40 / 0 / 2

HEX #8096F9

RGB 128 150 249

HSL 229.09, 0.91%, 0.74%

LAB 64.36, 18.42, -51.96

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 1 / 0 / 49 / 2

HEX #F7F980

RGB 247 249 128

HSL 60.99, 0.91%, 0.74%

LAB 95.62, -16.76, 57.28

 

CMYK 49 / 0 / 9 / 2

HEX #80F9E2

RGB 128 249 226

HSL 168.6, 0.91%, 0.74%

LAB 90.7, -39.5, 0.54

 

CMYK 48 / 49 / 0 / 2

HEX #8280F9

RGB 130 128 249

HSL 240.99, 0.91%, 0.74%

LAB 59, 31.76, -60.49

 

CMYK 0 / 49 / 40 / 2

HEX #F98095

RGB 249 128 149

HSL 349.59, 0.91%, 0.74%

LAB 67.83, 48.14, 10.24

 

CMYK 16 / 0 / 49 / 2

HEX #D2F980

RGB 210 249 128

HSL 79.34, 0.91%, 0.74%

LAB 93.02, -30.87, 53.55

 

CMYK 49 / 0 / 9 / 2

HEX #80F9E2

RGB 128 249 226

HSL 168.6, 0.91%, 0.74%

LAB 90.7, -39.5, 0.54

 

CMYK 33 / 49 / 0 / 2

HEX #A680F9

RGB 166 128 249

HSL 258.84, 0.91%, 0.74%

LAB 61.98, 40.24, -55.54

 

Description

Color code: RGB 249 128 149 | qconv.com Color code: RGB 249 128 149 | qconv.com - big

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, 249 red, 128 green and 149 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.
249 128 149 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, 49 magenta, 40 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.
0% 49% 40% 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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