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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 250 208 142 it is the complementary color RGB 5 47 113. 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 250 208 142. 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 250 208 142 shade: RGB 255 208 137, RGB 255 226 156, RGB 255 244 175, RGB 255 255 194 and RGB 255 255 213

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 250 208 142. 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 250 208 142 shade: RGB 250 208 142, RGB 233 190 123, RGB 216 172 104, RGB 199 154 85 and RGB 182 136 66

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 250 208 142 shade: RGB 250 208 142, RGB 250 179 142, RGB 250 150 142 and RGB 250 142 142

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 250 208 142 shade: RGB 250 208 142, RGB 250 237 142, RGB 234 250 142, RGB 204 250 142 and RGB 175 250 142

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 250 208 142 shade matches the following richer shades: RGB 250 208 142

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 250 208 142 shade: RGB 250 208 142, RGB 240 206 151, RGB 231 204 161, RGB 221 202 170 and RGB 212 199 180

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 250 208 142 shade: RGB 250 149 142, RGB 250 178 142, RGB 250 207 142, RGB 250 235 142 and RGB 235 250 142

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 250 208 142 shade: RGB 247 175 63, RGB 248 191 102, RGB 250 208 142, RGB 251 224 182 and RGB 253 241 221

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 250 208 142 shade: RGB 250 208 142, RGB 163 250 142 and RGB 163 142 250

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 250 208 142 shade: RGB 250 208 142, RGB 142 250 207 and RGB 207 142 250

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 250 208 142 shade: RGB 250 208 142, RGB 163 250 142, RGB 142 185 250 and RGB 228 142 250

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 250 208 142 shade: RGB 250 208 142, RGB 142 250 153, RGB 142 185 250 and RGB 250 142 239

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 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

Complementary color

CMYK 96 / 58 / 0 / 56

HEX #052F71

RGB 5 47 113

HSL 216.67, 0.92%, 0.23%

LAB 21.05, 15.09, -41.75

 

CMYK 0 / 18 / 46 / 0

HEX #FFD089

RGB 255 208 137

HSL 36.1, 1%, 0.77%

LAB 86.1, 7.81, 41.38

 

CMYK 0 / 11 / 39 / 0

HEX #FFE29C

RGB 255 226 156

HSL 42.42, 1%, 0.81%

LAB 90.8, 0.52, 37.87

 

CMYK 0 / 4 / 31 / 0

HEX #FFF4AF

RGB 255 244 175

HSL 51.75, 1%, 0.84%

LAB 95.6, -6.37, 34.64

 

CMYK 0 / 0 / 24 / 0

HEX #FFFFC2

RGB 255 255 194

HSL 60, 1%, 0.88%

LAB 98.7, -9.41, 29.25

 

CMYK 0 / 0 / 16 / 0

HEX #FFFFD5

RGB 255 255 213

HSL 60, 1%, 0.92%

LAB 99.06, -6.76, 20.12

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 18 / 47 / 9

HEX #E9BE7B

RGB 233 190 123

HSL 36.55, 0.71%, 0.7%

LAB 79.37, 7.05, 39.51

 

CMYK 0 / 20 / 52 / 15

HEX #D8AC68

RGB 216 172 104

HSL 36.43, 0.59%, 0.63%

LAB 72.96, 7.89, 40.84

 

CMYK 0 / 23 / 57 / 22

HEX #C79A55

RGB 199 154 85

HSL 36.32, 0.5%, 0.56%

LAB 66.45, 8.86, 42.21

 

CMYK 0 / 25 / 64 / 29

HEX #B68842

RGB 182 136 66

HSL 36.21, 0.47%, 0.49%

LAB 59.84, 10.01, 43.59

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 28 / 43 / 2

HEX #FAB38E

RGB 250 179 142

HSL 20.56, 0.92%, 0.77%

LAB 78.76, 21.47, 29.14

 

CMYK 0 / 40 / 43 / 2

HEX #FA968E

RGB 250 150 142

HSL 4.44, 0.92%, 0.77%

LAB 72.29, 36.64, 20.38

 

CMYK 0 / 43 / 43 / 2

HEX #FA8E8E

RGB 250 142 142

HSL 0, 0.92%, 0.77%

LAB 70.61, 40.74, 18.07

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 5 / 43 / 2

HEX #FAED8E

RGB 250 237 142

HSL 52.78, 0.92%, 0.77%

LAB 92.95, -8.4, 47.46

 

CMYK 6 / 0 / 43 / 2

HEX #EAFA8E

RGB 234 250 142

HSL 68.89, 0.92%, 0.77%

LAB 95.08, -20.92, 49.86

 

CMYK 18 / 0 / 43 / 2

HEX #CCFA8E

RGB 204 250 142

HSL 85.56, 0.92%, 0.77%

LAB 93.09, -32.02, 46.93

 

CMYK 30 / 0 / 43 / 2

HEX #AFFA8E

RGB 175 250 142

HSL 101.67, 0.92%, 0.77%

LAB 91.43, -42.05, 44.5

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 14 / 37 / 6

HEX #F0CE97

RGB 240 206 151

HSL 37.08, 0.75%, 0.77%

LAB 84.43, 4.41, 31.79

 

CMYK 0 / 12 / 30 / 9

HEX #E7CCA1

RGB 231 204 161

HSL 36.86, 0.59%, 0.77%

LAB 83.31, 3.18, 24.93

 

CMYK 0 / 9 / 23 / 13

HEX #DDCAAA

RGB 221 202 170

HSL 37.65, 0.43%, 0.77%

LAB 82.12, 1.65, 18.4

 

CMYK 0 / 6 / 15 / 17

HEX #D4C7B4

RGB 212 199 180

HSL 35.63, 0.27%, 0.77%

LAB 80.82, 1.39, 11.14

 

CMYK 0 / 40 / 43 / 2

HEX #FA958E

RGB 250 149 142

HSL 3.89, 0.92%, 0.77%

LAB 72.08, 37.16, 20.09

 

CMYK 0 / 29 / 43 / 2

HEX #FAB28E

RGB 250 178 142

HSL 20, 0.92%, 0.77%

LAB 78.53, 22, 28.83

 

CMYK 0 / 17 / 43 / 2

HEX #FACF8E

RGB 250 207 142

HSL 36.11, 0.92%, 0.77%

LAB 85.45, 6.84, 37.93

 

CMYK 0 / 6 / 43 / 2

HEX #FAEB8E

RGB 250 235 142

HSL 51.67, 0.92%, 0.77%

LAB 92.44, -7.4, 46.83

 

CMYK 6 / 0 / 43 / 2

HEX #EBFA8E

RGB 235 250 142

HSL 68.33, 0.92%, 0.77%

LAB 95.16, -20.54, 49.96

 

CMYK 0 / 29 / 74 / 3

HEX #F7AF3F

RGB 247 175 63

HSL 36.52, 0.92%, 0.61%

LAB 76.55, 16.67, 64.68

 

CMYK 0 / 23 / 59 / 3

HEX #F8BF66

RGB 248 191 102

HSL 36.58, 0.91%, 0.69%

LAB 80.84, 10.9, 52.05

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 0 / 11 / 27 / 2

HEX #FBE0B6

RGB 251 224 182

HSL 36.52, 0.9%, 0.85%

LAB 90.41, 3.12, 23.99

 

CMYK 0 / 5 / 13 / 1

HEX #FDF1DD

RGB 253 241 221

HSL 37.5, 0.89%, 0.93%

LAB 95.59, 0.77, 11.09

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 35 / 0 / 43 / 2

HEX #A3FA8E

RGB 163 250 142

HSL 108.33, 0.92%, 0.77%

LAB 90.83, -45.92, 43.61

 

CMYK 35 / 43 / 0 / 2

HEX #A38EFA

RGB 163 142 250

HSL 251.67, 0.92%, 0.77%

LAB 64.99, 31.84, -51.34

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 43 / 0 / 17 / 2

HEX #8EFACF

RGB 142 250 207

HSL 156.11, 0.92%, 0.77%

LAB 91.07, -40.82, 10.98

 

CMYK 17 / 43 / 0 / 2

HEX #CF8EFA

RGB 207 142 250

HSL 276.11, 0.92%, 0.77%

LAB 69.12, 43.76, -44.55

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 35 / 0 / 43 / 2

HEX #A3FA8E

RGB 163 250 142

HSL 108.33, 0.92%, 0.77%

LAB 90.83, -45.92, 43.61

 

CMYK 43 / 26 / 0 / 2

HEX #8EB9FA

RGB 142 185 250

HSL 216.11, 0.92%, 0.77%

LAB 74.41, 2.16, -36.67

 

CMYK 9 / 43 / 0 / 2

HEX #E48EFA

RGB 228 142 250

HSL 287.78, 0.92%, 0.77%

LAB 71.38, 49.7, -40.85

 

CMYK 0 / 17 / 43 / 2

HEX #FAD08E

RGB 250 208 142

HSL 36.67, 0.92%, 0.77%

LAB 85.7, 6.32, 38.24

 

CMYK 43 / 0 / 39 / 2

HEX #8EFA99

RGB 142 250 153

HSL 126.11, 0.92%, 0.77%

LAB 90.05, -50.59, 37.04

 

CMYK 43 / 26 / 0 / 2

HEX #8EB9FA

RGB 142 185 250

HSL 216.11, 0.92%, 0.77%

LAB 74.41, 2.16, -36.67

 

CMYK 0 / 43 / 4 / 2

HEX #FA8EEF

RGB 250 142 239

HSL 306.11, 0.92%, 0.77%

LAB 73.48, 54.09, -31.39

 

Description

Color code: RGB 250 208 142 | qconv.com Color code: RGB 250 208 142 | 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, 208 green and 142 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.
250 208 142 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, 17 magenta, 43 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% 17% 43% 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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