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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 250 206 152 it is the complementary color RGB 5 49 103. 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 250 206 152. 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 250 206 152 shade: RGB 255 206 147, RGB 255 224 166, RGB 255 242 185, RGB 255 255 204 and RGB 255 255 223

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 250 206 152. 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 250 206 152 shade: RGB 250 206 152, RGB 233 188 133, RGB 216 170 114, RGB 199 152 95 and RGB 182 134 76

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 250 206 152 shade: RGB 250 206 152, RGB 250 180 152, RGB 250 153 152 and RGB 250 152 152

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 250 206 152 shade: RGB 250 206 152, RGB 250 232 152, RGB 241 250 152, RGB 215 250 152 and RGB 188 250 152

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 250 206 152 shade matches the following richer shades: RGB 250 206 152

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 250 206 152 shade: RGB 250 206 152, RGB 241 205 161, RGB 232 204 170, RGB 224 203 178 and RGB 215 202 187

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 250 206 152 shade: RGB 250 154 152, RGB 250 180 152, RGB 250 206 152, RGB 250 232 152 and RGB 242 250 152

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 250 206 152 shade: RGB 246 168 73, RGB 248 187 113, RGB 250 206 152, RGB 252 225 192 and RGB 253 243 231

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 250 206 152 shade: RGB 250 206 152, RGB 177 250 152 and RGB 167 152 250

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 250 206 152 shade: RGB 250 206 152, RGB 152 250 206 and RGB 206 152 250

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 250 206 152 shade: RGB 250 206 152, RGB 177 250 152, RGB 152 196 250 and RGB 225 152 250

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 250 206 152 shade: RGB 250 206 152, RGB 152 250 157, RGB 152 196 250 and RGB 250 152 245

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 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

Complementary color

CMYK 95 / 52 / 0 / 60

HEX #053167

RGB 5 49 103

HSL 213.06, 0.91%, 0.21%

LAB 20.86, 9.18, -35.59

 

CMYK 0 / 19 / 42 / 0

HEX #FFCE93

RGB 255 206 147

HSL 32.78, 1%, 0.79%

LAB 85.76, 9.83, 35.86

 

CMYK 0 / 12 / 35 / 0

HEX #FFE0A6

RGB 255 224 166

HSL 39.1, 1%, 0.83%

LAB 90.47, 2.66, 32.36

 

CMYK 0 / 5 / 27 / 0

HEX #FFF2B9

RGB 255 242 185

HSL 48.86, 1%, 0.86%

LAB 95.27, -4.13, 29.14

 

CMYK 0 / 0 / 20 / 0

HEX #FFFFCC

RGB 255 255 204

HSL 60, 1%, 0.9%

LAB 98.88, -8.05, 24.44

 

CMYK 0 / 0 / 13 / 0

HEX #FFFFDF

RGB 255 255 223

HSL 60, 1%, 0.94%

LAB 99.26, -5.26, 15.31

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 19 / 43 / 9

HEX #E9BC85

RGB 233 188 133

HSL 33, 0.69%, 0.72%

LAB 79.03, 9.1, 33.91

 

CMYK 0 / 21 / 47 / 15

HEX #D8AA72

RGB 216 170 114

HSL 32.94, 0.57%, 0.65%

LAB 72.6, 9.89, 35.21

 

CMYK 0 / 24 / 52 / 22

HEX #C7985F

RGB 199 152 95

HSL 32.88, 0.48%, 0.58%

LAB 66.08, 10.79, 36.59

 

CMYK 0 / 26 / 58 / 29

HEX #B6864C

RGB 182 134 76

HSL 32.83, 0.42%, 0.51%

LAB 59.45, 11.86, 38.04

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 28 / 39 / 2

HEX #FAB498

RGB 250 180 152

HSL 17.14, 0.91%, 0.79%

LAB 79.18, 22.02, 24.37

 

CMYK 0 / 39 / 39 / 2

HEX #FA9998

RGB 250 153 152

HSL 0.61, 0.91%, 0.79%

LAB 73.14, 36.16, 16.05

 

CMYK 0 / 39 / 39 / 2

HEX #FA9898

RGB 250 152 152

HSL 0, 0.91%, 0.79%

LAB 72.92, 36.67, 15.75

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 7 / 39 / 2

HEX #FAE898

RGB 250 232 152

HSL 48.98, 0.91%, 0.79%

LAB 91.82, -4.88, 41.11

 

CMYK 4 / 0 / 39 / 2

HEX #F1FA98

RGB 241 250 152

HSL 65.51, 0.91%, 0.79%

LAB 95.72, -17.22, 45.96

 

CMYK 14 / 0 / 39 / 2

HEX #D7FA98

RGB 215 250 152

HSL 81.43, 0.91%, 0.79%

LAB 93.92, -26.87, 43.29

 

CMYK 25 / 0 / 39 / 2

HEX #BCFA98

RGB 188 250 152

HSL 97.96, 0.91%, 0.79%

LAB 92.28, -36.39, 40.86

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 15 / 33 / 5

HEX #F1CDA1

RGB 241 205 161

HSL 33, 0.74%, 0.79%

LAB 84.45, 6.5, 26.63

 

CMYK 0 / 12 / 27 / 9

HEX #E8CCAA

RGB 232 204 170

HSL 32.9, 0.57%, 0.79%

LAB 83.57, 4.75, 20.56

 

CMYK 0 / 9 / 21 / 12

HEX #E0CBB2

RGB 224 203 178

HSL 32.61, 0.43%, 0.79%

LAB 82.79, 3.4, 15.14

 

CMYK 0 / 6 / 13 / 16

HEX #D7CABB

RGB 215 202 187

HSL 32.14, 0.26%, 0.79%

LAB 81.99, 2.02, 9.1

 

CMYK 0 / 38 / 39 / 2

HEX #FA9A98

RGB 250 154 152

HSL 1.22, 0.91%, 0.79%

LAB 73.35, 35.64, 16.35

 

CMYK 0 / 28 / 39 / 2

HEX #FAB498

RGB 250 180 152

HSL 17.14, 0.91%, 0.79%

LAB 79.18, 22.02, 24.37

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 7 / 39 / 2

HEX #FAE898

RGB 250 232 152

HSL 48.98, 0.91%, 0.79%

LAB 91.82, -4.88, 41.11

 

CMYK 3 / 0 / 39 / 2

HEX #F2FA98

RGB 242 250 152

HSL 64.9, 0.91%, 0.79%

LAB 95.8, -16.84, 46.07

 

CMYK 0 / 32 / 70 / 4

HEX #F6A849

RGB 246 168 73

HSL 32.95, 0.91%, 0.63%

LAB 74.87, 20.39, 58.76

 

CMYK 0 / 25 / 54 / 3

HEX #F8BB71

RGB 248 187 113

HSL 32.89, 0.91%, 0.71%

LAB 80, 13.82, 45.67

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 0 / 11 / 24 / 1

HEX #FCE1C0

RGB 252 225 192

HSL 33, 0.91%, 0.87%

LAB 90.94, 4.32, 19.54

 

CMYK 0 / 4 / 9 / 1

HEX #FDF3E7

RGB 253 243 231

HSL 32.73, 0.85%, 0.95%

LAB 96.31, 1.35, 6.96

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 29 / 0 / 39 / 2

HEX #B1FA98

RGB 177 250 152

HSL 104.69, 0.91%, 0.79%

LAB 91.68, -40.07, 39.96

 

CMYK 33 / 39 / 0 / 2

HEX #A798FA

RGB 167 152 250

HSL 249.18, 0.91%, 0.79%

LAB 67.71, 27.22, -47.03

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 39 / 0 / 18 / 2

HEX #98FACE

RGB 152 250 206

HSL 153.06, 0.91%, 0.79%

LAB 91.46, -38.43, 12.12

 

CMYK 18 / 39 / 0 / 2

HEX #CE98FA

RGB 206 152 250

HSL 273.06, 0.91%, 0.79%

LAB 71.2, 38.09, -41.3

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 29 / 0 / 39 / 2

HEX #B1FA98

RGB 177 250 152

HSL 104.69, 0.91%, 0.79%

LAB 91.68, -40.07, 39.96

 

CMYK 39 / 22 / 0 / 2

HEX #98C4FA

RGB 152 196 250

HSL 213.06, 0.91%, 0.79%

LAB 77.91, -1.3, -31.22

 

CMYK 10 / 39 / 0 / 2

HEX #E198FA

RGB 225 152 250

HSL 284.69, 0.91%, 0.79%

LAB 73.13, 43.62, -38.14

 

CMYK 0 / 18 / 39 / 2

HEX #FACE98

RGB 250 206 152

HSL 33.06, 0.91%, 0.79%

LAB 85.37, 8.41, 32.68

 

CMYK 39 / 0 / 37 / 2

HEX #98FA9D

RGB 152 250 157

HSL 123.06, 0.91%, 0.79%

LAB 90.54, -47.12, 35.78

 

CMYK 39 / 22 / 0 / 2

HEX #98C4FA

RGB 152 196 250

HSL 213.06, 0.91%, 0.79%

LAB 77.91, -1.3, -31.22

 

CMYK 0 / 39 / 2 / 2

HEX #FA98F5

RGB 250 152 245

HSL 303.06, 0.91%, 0.79%

LAB 75.68, 50.1, -31.26

 

Description

Color code: RGB 250 206 152 | qconv.com Color code: RGB 250 206 152 | 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, 206 green and 152 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.
250 206 152 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, 18 magenta, 39 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% 18% 39% 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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