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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 250 116 15 it is the complementary color RGB 5 139 240. 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 250 116 15. 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 250 116 15 shade: RGB 255 116 10, RGB 255 134 29, RGB 255 152 48, RGB 255 170 67 and RGB 255 188 86

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 250 116 15. 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 250 116 15 shade: RGB 250 116 15, RGB 233 98 0, RGB 216 80 0, RGB 199 62 0 and RGB 182 44 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 250 116 15 shade: RGB 250 116 15, RGB 250 52 15 and RGB 250 15 15

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 250 116 15 shade: RGB 250 116 15, RGB 250 179 15, RGB 250 242 15, RGB 193 250 15 and RGB 130 250 15

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 250 116 15 shade matches the following richer shades: RGB 250 116 15

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 250 116 15 shade: RGB 250 116 15, RGB 230 118 34, RGB 210 121 54, RGB 190 124 74 and RGB 170 127 94

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 250 116 15 shade: RGB 250 15 42, RGB 250 50 15, RGB 250 113 15, RGB 250 175 15 and RGB 250 238 15

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 250 116 15 shade: RGB 179 79 3, RGB 219 96 4, RGB 250 116 15, RGB 250 139 55 and RGB 251 162 95

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 250 116 15 shade: RGB 250 116 15, RGB 105 250 15 and RGB 19 15 250

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 250 116 15 shade: RGB 250 116 15, RGB 15 250 113 and RGB 113 15 250

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 250 116 15 shade: RGB 250 116 15, RGB 105 250 15, RGB 15 152 250 and RGB 160 15 250

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 250 116 15 shade: RGB 250 116 15, RGB 34 250 15, RGB 15 152 250 and RGB 230 15 250

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 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

Complementary color

CMYK 98 / 42 / 0 / 6

HEX #058BF0

RGB 5 139 240

HSL 205.79, 0.96%, 0.48%

LAB 56.87, 6.37, -59.17

 

CMYK 0 / 55 / 96 / 0

HEX #FF740A

RGB 255 116 10

HSL 25.96, 1%, 0.52%

LAB 64.78, 48.7, 71.17

 

CMYK 0 / 47 / 89 / 0

HEX #FF861D

RGB 255 134 29

HSL 27.88, 1%, 0.56%

LAB 68.31, 40.17, 69.52

 

CMYK 0 / 40 / 81 / 0

HEX #FF9830

RGB 255 152 48

HSL 30.14, 1%, 0.59%

LAB 72.18, 31.45, 66.62

 

CMYK 0 / 33 / 74 / 0

HEX #FFAA43

RGB 255 170 67

HSL 32.87, 1%, 0.63%

LAB 76.32, 22.78, 63.14

 

CMYK 0 / 26 / 66 / 0

HEX #FFBC56

RGB 255 188 86

HSL 36.21, 1%, 0.67%

LAB 80.68, 14.33, 59.49

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 58 / 100 / 9

HEX #E96200

RGB 233 98 0

HSL 25.24, 1%, 0.46%

LAB 58.09, 48.89, 67.15

 

CMYK 0 / 63 / 100 / 15

HEX #D85000

RGB 216 80 0

HSL 22.22, 1%, 0.42%

LAB 52.22, 50.84, 62.47

 

CMYK 0 / 69 / 100 / 22

HEX #C73E00

RGB 199 62 0

HSL 18.69, 1%, 0.39%

LAB 46.43, 52.45, 57.88

 

CMYK 0 / 76 / 100 / 29

HEX #B62C00

RGB 182 44 0

HSL 14.51, 1%, 0.36%

LAB 40.81, 53.47, 53.4

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 79 / 94 / 2

HEX #FA340F

RGB 250 52 15

HSL 9.45, 0.96%, 0.52%

LAB 54.88, 71.47, 63.83

 

CMYK 0 / 94 / 94 / 2

HEX #FA0F0F

RGB 250 15 15

HSL 0, 0.96%, 0.52%

LAB 52.62, 77.92, 62.58

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 28 / 94 / 2

HEX #FAB30F

RGB 250 179 15

HSL 41.87, 0.96%, 0.52%

LAB 77.64, 14.63, 78.84

 

CMYK 0 / 3 / 94 / 2

HEX #FAF20F

RGB 250 242 15

HSL 57.96, 0.96%, 0.52%

LAB 93.39, -17.28, 90.42

 

CMYK 23 / 0 / 94 / 2

HEX #C1FA0F

RGB 193 250 15

HSL 74.55, 0.96%, 0.52%

LAB 91.57, -43.84, 87.29

 

CMYK 48 / 0 / 94 / 2

HEX #82FA0F

RGB 130 250 15

HSL 90.64, 0.96%, 0.52%

LAB 88.52, -65.26, 83.58

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 49 / 85 / 10

HEX #E67622

RGB 230 118 34

HSL 25.71, 0.8%, 0.52%

LAB 61.56, 38.49, 61.14

 

CMYK 0 / 42 / 74 / 18

HEX #D27936

RGB 210 121 54

HSL 25.77, 0.63%, 0.52%

LAB 59.56, 29.51, 50.05

 

CMYK 0 / 35 / 61 / 25

HEX #BE7C4A

RGB 190 124 74

HSL 25.86, 0.47%, 0.52%

LAB 57.9, 20.67, 37.47

 

CMYK 0 / 25 / 45 / 33

HEX #AA7F5E

RGB 170 127 94

HSL 26.05, 0.31%, 0.52%

LAB 56.62, 12.35, 24.39

 

CMYK 0 / 94 / 83 / 2

HEX #FA0F2A

RGB 250 15 42

HSL 353.11, 0.96%, 0.52%

LAB 52.77, 78.33, 51.51

 

CMYK 0 / 80 / 94 / 2

HEX #FA320F

RGB 250 50 15

HSL 8.94, 0.96%, 0.52%

LAB 54.7, 71.98, 63.72

 

CMYK 0 / 55 / 94 / 2

HEX #FA710F

RGB 250 113 15

HSL 25.02, 0.96%, 0.52%

LAB 63.48, 48.3, 69.1

 

CMYK 0 / 30 / 94 / 2

HEX #FAAF0F

RGB 250 175 15

HSL 40.85, 0.96%, 0.52%

LAB 76.69, 16.73, 78.16

 

CMYK 0 / 5 / 94 / 2

HEX #FAEE0F

RGB 250 238 15

HSL 56.94, 0.96%, 0.52%

LAB 92.36, -15.34, 89.64

 

CMYK 0 / 56 / 98 / 30

HEX #B34F03

RGB 179 79 3

HSL 25.91, 0.97%, 0.36%

LAB 45.88, 37.46, 54.92

 

CMYK 0 / 56 / 98 / 14

HEX #DB6004

RGB 219 96 4

HSL 25.67, 0.96%, 0.44%

LAB 55.52, 44.64, 63.74

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 0 / 44 / 78 / 2

HEX #FA8B37

RGB 250 139 55

HSL 25.85, 0.95%, 0.6%

LAB 68.8, 36.35, 60.55

 

CMYK 0 / 35 / 62 / 2

HEX #FBA25F

RGB 251 162 95

HSL 25.77, 0.95%, 0.68%

LAB 74.3, 26.84, 47.9

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 58 / 0 / 94 / 2

HEX #69FA0F

RGB 105 250 15

HSL 97.02, 0.96%, 0.52%

LAB 87.68, -71.91, 82.55

 

CMYK 92 / 94 / 0 / 2

HEX #130FFA

RGB 19 15 250

HSL 241.02, 0.96%, 0.52%

LAB 32.66, 75.75, -104.45

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 94 / 0 / 55 / 2

HEX #0FFA71

RGB 15 250 113

HSL 145.02, 0.96%, 0.52%

LAB 86.83, -76.97, 51.49

 

CMYK 55 / 94 / 0 / 2

HEX #710FFA

RGB 113 15 250

HSL 265.02, 0.96%, 0.52%

LAB 39.16, 79.29, -93.45

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 58 / 0 / 94 / 2

HEX #69FA0F

RGB 105 250 15

HSL 97.02, 0.96%, 0.52%

LAB 87.68, -71.91, 82.55

 

CMYK 94 / 39 / 0 / 2

HEX #0F98FA

RGB 15 152 250

HSL 205.02, 0.96%, 0.52%

LAB 61.19, 2.67, -57.77

 

CMYK 36 / 94 / 0 / 2

HEX #A00FFA

RGB 160 15 250

HSL 277.02, 0.96%, 0.52%

LAB 45.24, 83.57, -83.21

 

CMYK 0 / 54 / 94 / 2

HEX #FA740F

RGB 250 116 15

HSL 25.79, 0.96%, 0.52%

LAB 64.04, 46.87, 69.47

 

CMYK 86 / 0 / 94 / 2

HEX #22FA0F

RGB 34 250 15

HSL 115.15, 0.96%, 0.52%

LAB 86.38, -83.14, 80.94

 

CMYK 94 / 39 / 0 / 2

HEX #0F98FA

RGB 15 152 250

HSL 205.02, 0.96%, 0.52%

LAB 61.19, 2.67, -57.77

 

CMYK 8 / 94 / 0 / 2

HEX #E60FFA

RGB 230 15 250

HSL 294.89, 0.96%, 0.52%

LAB 56.15, 92.78, -64.98

 

Description

Color code: RGB 250 116 15 | qconv.com Color code: RGB 250 116 15 | 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 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, 250 red, 116 green and 15 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.
250 116 15 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, 54 magenta, 94 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% 54% 94% 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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