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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 249 169 177 it is the complementary color RGB 6 86 78. 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 249 169 177. 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 249 169 177 shade: RGB 254 169 172, RGB 255 187 191, RGB 255 205 210, RGB 255 223 229 and RGB 255 241 248

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 249 169 177. 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 249 169 177 shade: RGB 249 169 177, RGB 232 151 158, RGB 215 133 139, RGB 198 115 120 and RGB 181 97 101

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 249 169 177 shade: RGB 249 169 177 and RGB 249 169 169

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 249 169 177 shade: RGB 249 169 177, RGB 249 169 198, RGB 249 169 220, RGB 249 169 241 and RGB 234 169 249

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 249 169 177 shade matches the following richer shades: RGB 249 169 177

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 249 169 177 shade: RGB 249 169 177, RGB 241 176 183, RGB 234 184 189, RGB 226 191 194 and RGB 219 198 200

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 249 169 177 shade: RGB 249 169 219, RGB 249 169 198, RGB 249 169 177, RGB 249 182 169 and RGB 249 203 169

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 249 169 177 shade: RGB 243 92 107, RGB 246 130 142, RGB 249 169 177, RGB 251 207 212 and RGB 254 246 247

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 249 169 177 shade: RGB 249 169 177, RGB 241 249 169 and RGB 169 209 249

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 249 169 177 shade: RGB 249 169 177, RGB 177 249 169 and RGB 169 177 249

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 249 169 177 shade: RGB 249 169 177, RGB 241 249 169, RGB 169 249 241 and RGB 177 169 249

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 249 169 177 shade: RGB 249 169 177, RGB 217 249 169, RGB 169 249 241 and RGB 201 169 249

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 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

Complementary color

CMYK 93 / 0 / 9 / 66

HEX #06564E

RGB 6 86 78

HSL 174, 0.87%, 0.18%

LAB 32.36, -23.9, -1.61

 

CMYK 0 / 33 / 32 / 0

HEX #FEA9AC

RGB 254 169 172

HSL 357.88, 0.98%, 0.83%

LAB 77.53, 31.65, 11.35

 

CMYK 0 / 27 / 25 / 0

HEX #FFBBBF

RGB 255 187 191

HSL 356.47, 1%, 0.87%

LAB 82.14, 25.07, 7.67

 

CMYK 0 / 20 / 18 / 0

HEX #FFCDD2

RGB 255 205 210

HSL 354, 1%, 0.9%

LAB 86.79, 18.38, 4.23

 

CMYK 0 / 13 / 10 / 0

HEX #FFDFE5

RGB 255 223 229

HSL 348.75, 1%, 0.94%

LAB 91.55, 11.98, 1.13

 

CMYK 0 / 5 / 3 / 0

HEX #FFF1F8

RGB 255 241 248

HSL 330, 1%, 0.97%

LAB 96.39, 5.9, -1.69

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 35 / 32 / 9

HEX #E8979E

RGB 232 151 158

HSL 354.81, 0.64%, 0.75%

LAB 70.7, 31.29, 8.99

 

CMYK 0 / 38 / 35 / 16

HEX #D7858B

RGB 215 133 139

HSL 355.61, 0.51%, 0.68%

LAB 64.23, 32.19, 10.17

 

CMYK 0 / 42 / 39 / 22

HEX #C67378

RGB 198 115 120

HSL 356.39, 0.42%, 0.61%

LAB 57.68, 33.17, 11.5

 

CMYK 0 / 46 / 44 / 29

HEX #B56165

RGB 181 97 101

HSL 357.14, 0.36%, 0.55%

LAB 51.05, 34.22, 13.04

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 32 / 32 / 2

HEX #F9A9A9

RGB 249 169 169

HSL 0, 0.87%, 0.82%

LAB 76.91, 29.44, 12.02

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 32 / 20 / 2

HEX #F9A9C6

RGB 249 169 198

HSL 338.25, 0.87%, 0.82%

LAB 77.63, 33.39, -2.74

 

CMYK 0 / 32 / 12 / 2

HEX #F9A9DC

RGB 249 169 220

HSL 321.75, 0.87%, 0.82%

LAB 78.28, 36.79, -13.76

 

CMYK 0 / 32 / 3 / 2

HEX #F9A9F1

RGB 249 169 241

HSL 306, 0.87%, 0.82%

LAB 78.96, 40.33, -24.08

 

CMYK 6 / 32 / 0 / 2

HEX #EAA9F9

RGB 234 169 249

HSL 288.75, 0.87%, 0.82%

LAB 77.7, 37.12, -30.46

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 27 / 24 / 5

HEX #F1B0B7

RGB 241 176 183

HSL 353.54, 0.7%, 0.82%

LAB 77.98, 24.68, 5.81

 

CMYK 0 / 21 / 19 / 8

HEX #EAB8BD

RGB 234 184 189

HSL 354, 0.54%, 0.82%

LAB 79.3, 18.76, 4.38

 

CMYK 0 / 15 / 14 / 11

HEX #E2BFC2

RGB 226 191 194

HSL 354.86, 0.38%, 0.82%

LAB 80.36, 12.92, 3.13

 

CMYK 0 / 10 / 9 / 14

HEX #DBC6C8

RGB 219 198 200

HSL 354.29, 0.23%, 0.82%

LAB 81.63, 7.7, 1.67

 

CMYK 0 / 32 / 12 / 2

HEX #F9A9DB

RGB 249 169 219

HSL 322.5, 0.87%, 0.82%

LAB 78.25, 36.62, -13.26

 

CMYK 0 / 32 / 20 / 2

HEX #F9A9C6

RGB 249 169 198

HSL 338.25, 0.87%, 0.82%

LAB 77.63, 33.39, -2.74

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 27 / 32 / 2

HEX #F9B6A9

RGB 249 182 169

HSL 9.75, 0.87%, 0.82%

LAB 79.88, 22.6, 16.2

 

CMYK 0 / 18 / 32 / 2

HEX #F9CBA9

RGB 249 203 169

HSL 25.5, 0.87%, 0.82%

LAB 84.85, 11.57, 23.1

 

CMYK 0 / 62 / 56 / 5

HEX #F35C6B

RGB 243 92 107

HSL 354.04, 0.86%, 0.66%

LAB 59.68, 58.94, 22.83

 

CMYK 0 / 47 / 42 / 4

HEX #F6828E

RGB 246 130 142

HSL 353.79, 0.87%, 0.74%

LAB 67.66, 45.36, 13.88

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 0 / 18 / 16 / 2

HEX #FBCFD4

RGB 251 207 212

HSL 353.18, 0.85%, 0.9%

LAB 86.94, 16.22, 3.34

 

CMYK 0 / 3 / 3 / 0

HEX #FEF6F7

RGB 254 246 247

HSL 352.5, 0.8%, 0.98%

LAB 97.51, 2.84, 0.46

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 3 / 0 / 32 / 2

HEX #F1F9A9

RGB 241 249 169

HSL 66, 0.87%, 0.82%

LAB 95.71, -14.78, 37.59

 

CMYK 32 / 16 / 0 / 2

HEX #A9D1F9

RGB 169 209 249

HSL 210, 0.87%, 0.82%

LAB 82.31, -3.94, -23.87

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 29 / 0 / 32 / 2

HEX #B1F9A9

RGB 177 249 169

HSL 114, 0.87%, 0.82%

LAB 91.67, -37.16, 31.49

 

CMYK 32 / 29 / 0 / 2

HEX #A9B1F9

RGB 169 177 249

HSL 234, 0.87%, 0.82%

LAB 74.01, 13.45, -36.62

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 3 / 0 / 32 / 2

HEX #F1F9A9

RGB 241 249 169

HSL 66, 0.87%, 0.82%

LAB 95.71, -14.78, 37.59

 

CMYK 32 / 0 / 3 / 2

HEX #A9F9F1

RGB 169 249 241

HSL 174, 0.87%, 0.82%

LAB 92.81, -25.99, -3.95

 

CMYK 29 / 32 / 0 / 2

HEX #B1A9F9

RGB 177 169 249

HSL 246, 0.87%, 0.82%

LAB 72.6, 20.15, -38.76

 

CMYK 0 / 32 / 29 / 2

HEX #F9A9B1

RGB 249 169 177

HSL 354, 0.87%, 0.82%

LAB 77.1, 30.46, 7.93

 

CMYK 13 / 0 / 32 / 2

HEX #D9F9A9

RGB 217 249 169

HSL 84, 0.87%, 0.82%

LAB 94.04, -23.53, 35.07

 

CMYK 32 / 0 / 3 / 2

HEX #A9F9F1

RGB 169 249 241

HSL 174, 0.87%, 0.82%

LAB 92.81, -25.99, -3.95

 

CMYK 19 / 32 / 0 / 2

HEX #C9A9F9

RGB 201 169 249

HSL 264, 0.87%, 0.82%

LAB 74.59, 27.11, -35.52

 

Description

Color code: RGB 249 169 177 | qconv.com Color code: RGB 249 169 177 | 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, 169 green and 177 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.
249 169 177 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, 32 magenta, 29 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% 32% 29% 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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