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Color name
RGB 250 183 172

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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 250 183 172 it is the complementary color RGB 5 72 83. 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 250 183 172. 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 250 183 172 shade: RGB 255 183 167, RGB 255 201 186, RGB 255 219 205, RGB 255 237 224 and RGB 255 255 243

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 250 183 172. 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 250 183 172 shade: RGB 250 183 172, RGB 233 165 153, RGB 216 147 134, RGB 199 129 115 and RGB 182 111 96

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 250 183 172 shade: RGB 250 183 173 and RGB 250 173 173

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 250 183 172 shade: RGB 250 183 173, RGB 250 204 173, RGB 250 225 173, RGB 250 246 173 and RGB 233 250 173

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 250 183 172 shade matches the following richer shades: RGB 250 183 173

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 250 183 172 shade: RGB 250 183 173, RGB 243 188 180, RGB 236 194 187, RGB 229 199 194 and RGB 222 204 201

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 250 183 172 shade: RGB 250 173 203, RGB 250 173 183, RGB 250 183 173, RGB 250 203 173 and RGB 250 224 173

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 250 183 172 shade: RGB 245 116 95, RGB 247 150 134, RGB 250 183 173, RGB 252 217 212 and RGB 254 251 251

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 250 183 172 shade: RGB 250 183 172, RGB 224 250 173 and RGB 173 193 250

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 250 183 172 shade: RGB 250 183 172, RGB 173 250 183 and RGB 183 173 250

The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.

Rectangular (tetradic) 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 250 183 172 shade: RGB 250 183 172, RGB 224 250 173, RGB 173 239 250 and RGB 198 173 250

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 250 183 172 shade: RGB 250 183 172, RGB 201 250 173, RGB 173 239 250 and RGB 221 173 250

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 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

Complementary color

CMYK 94 / 13 / 0 / 67

HEX #054853

RGB 5 72 83

HSL 188.46, 0.89%, 0.17%

LAB 27.55, -14.65, -12.03

 

CMYK 0 / 28 / 35 / 0

HEX #FFB7A7

RGB 255 183 167

HSL 10.91, 1%, 0.83%

LAB 80.69, 24.07, 18.51

 

CMYK 0 / 21 / 27 / 0

HEX #FFC9BA

RGB 255 201 186

HSL 13.04, 1%, 0.86%

LAB 85.29, 17.05, 14.82

 

CMYK 0 / 14 / 20 / 0

HEX #FFDBCD

RGB 255 219 205

HSL 16.8, 1%, 0.9%

LAB 90.01, 10.35, 11.49

 

CMYK 0 / 7 / 12 / 0

HEX #FFEDE0

RGB 255 237 224

HSL 25.16, 1%, 0.94%

LAB 94.83, 3.98, 8.47

 

CMYK 0 / 0 / 5 / 0

HEX #FFFFF3

RGB 255 255 243

HSL 60, 1%, 0.98%

LAB 99.71, -2.05, 5.72

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

CMYK 0 / 29 / 34 / 9

HEX #E9A599

RGB 233 165 153

HSL 9, 0.65%, 0.76%

LAB 73.89, 23.59, 16.26

 

CMYK 0 / 32 / 38 / 15

HEX #D89386

RGB 216 147 134

HSL 9.51, 0.51%, 0.69%

LAB 67.42, 24.44, 17.46

 

CMYK 0 / 35 / 42 / 22

HEX #C78173

RGB 199 129 115

HSL 10, 0.43%, 0.62%

LAB 60.85, 25.4, 18.79

 

CMYK 0 / 39 / 47 / 29

HEX #B66F60

RGB 182 111 96

HSL 10.47, 0.37%, 0.55%

LAB 54.19, 26.47, 20.28

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 31 / 31 / 2

HEX #FAADAD

RGB 250 173 173

HSL 0, 0.89%, 0.83%

LAB 78.01, 28.21, 11.42

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 18 / 31 / 2

HEX #FACCAD

RGB 250 204 173

HSL 24.16, 0.89%, 0.83%

LAB 85.26, 11.93, 21.58

 

CMYK 0 / 10 / 31 / 2

HEX #FAE1AD

RGB 250 225 173

HSL 40.52, 0.89%, 0.83%

LAB 90.41, 1.09, 28.61

 

CMYK 0 / 2 / 31 / 2

HEX #FAF6AD

RGB 250 246 173

HSL 56.88, 0.89%, 0.83%

LAB 95.69, -9.47, 35.68

 

CMYK 7 / 0 / 31 / 2

HEX #E9FAAD

RGB 233 250 173

HSL 73.25, 0.89%, 0.83%

LAB 95.46, -17.71, 35.16

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 23 / 26 / 5

HEX #F3BCB4

RGB 243 188 180

HSL 7.62, 0.72%, 0.83%

LAB 80.91, 18.64, 11.66

 

CMYK 0 / 18 / 21 / 7

HEX #ECC2BB

RGB 236 194 187

HSL 8.57, 0.56%, 0.83%

LAB 81.84, 13.89, 9.14

 

CMYK 0 / 13 / 15 / 10

HEX #E5C7C2

RGB 229 199 194

HSL 8.57, 0.4%, 0.83%

LAB 82.59, 9.76, 6.39

 

CMYK 0 / 8 / 9 / 13

HEX #DECCC9

RGB 222 204 201

HSL 8.57, 0.24%, 0.83%

LAB 83.41, 5.76, 3.75

 

CMYK 0 / 31 / 19 / 2

HEX #FAADCB

RGB 250 173 203

HSL 336.62, 0.89%, 0.83%

LAB 78.77, 32.38, -3.79

 

CMYK 0 / 31 / 27 / 2

HEX #FAADB7

RGB 250 173 183

HSL 352.21, 0.89%, 0.83%

LAB 78.25, 29.52, 6.33

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 19 / 31 / 2

HEX #FACBAD

RGB 250 203 173

HSL 23.38, 0.89%, 0.83%

LAB 85.02, 12.45, 21.24

 

CMYK 0 / 10 / 31 / 2

HEX #FAE0AD

RGB 250 224 173

HSL 39.74, 0.89%, 0.83%

LAB 90.16, 1.6, 28.27

 

CMYK 0 / 53 / 61 / 4

HEX #F5745F

RGB 245 116 95

HSL 8.4, 0.88%, 0.67%

LAB 63.94, 47.9, 35.18

 

CMYK 0 / 39 / 46 / 3

HEX #F79686

RGB 247 150 134

HSL 8.5, 0.88%, 0.75%

LAB 71.76, 34.72, 24

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AD

RGB 250 183 173

HSL 7.79, 0.89%, 0.83%

LAB 80.3, 22.95, 14.65

 

CMYK 0 / 14 / 16 / 1

HEX #FCD9D4

RGB 252 217 212

HSL 7.5, 0.87%, 0.91%

LAB 89.43, 11.36, 6.94

 

CMYK 0 / 1 / 1 / 0

HEX #FEFBFB

RGB 254 251 251

HSL 0, 0.6%, 0.99%

LAB 98.84, 1, 0.34

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

CMYK 10 / 0 / 31 / 2

HEX #E0FAAD

RGB 224 250 173

HSL 80.26, 0.89%, 0.83%

LAB 94.84, -20.97, 34.22

 

CMYK 31 / 23 / 0 / 2

HEX #ADC1FA

RGB 173 193 250

HSL 224.42, 0.89%, 0.83%

LAB 78.42, 6.01, -30.33

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

CMYK 31 / 0 / 27 / 2

HEX #ADFAB7

RGB 173 250 183

HSL 127.79, 0.89%, 0.83%

LAB 91.99, -36.62, 24.8

 

CMYK 27 / 31 / 0 / 2

HEX #B7ADFA

RGB 183 173 250

HSL 247.79, 0.89%, 0.83%

LAB 74.1, 19.87, -36.94

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

CMYK 10 / 0 / 31 / 2

HEX #E0FAAD

RGB 224 250 173

HSL 80.26, 0.89%, 0.83%

LAB 94.84, -20.97, 34.22

 

CMYK 31 / 4 / 0 / 2

HEX #ADEFFA

RGB 173 239 250

HSL 188.57, 0.89%, 0.83%

LAB 90.56, -17.99, -11.94

 

CMYK 21 / 31 / 0 / 2

HEX #C6ADFA

RGB 198 173 250

HSL 259.48, 0.89%, 0.83%

LAB 75.32, 24.25, -34.95

 

CMYK 0 / 27 / 31 / 2

HEX #FAB7AC

RGB 250 183 172

HSL 8.46, 0.89%, 0.83%

LAB 80.27, 22.82, 15.16

 

CMYK 20 / 0 / 31 / 2

HEX #C9FAAD

RGB 201 250 173

HSL 98.18, 0.89%, 0.83%

LAB 93.37, -29.05, 31.99

 

CMYK 31 / 4 / 0 / 2

HEX #ADEFFA

RGB 173 239 250

HSL 188.57, 0.89%, 0.83%

LAB 90.56, -17.99, -11.94

 

CMYK 12 / 31 / 0 / 2

HEX #DDADFA

RGB 221 173 250

HSL 277.4, 0.89%, 0.83%

LAB 77.38, 31.18, -31.61

 

Description

Color code: RGB 250 183 172 | qconv.com Color code: RGB 250 183 172 | 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, 250 red, 183 green and 172 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.
250 183 172 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, 27 magenta, 31 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% 27% 31% 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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