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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 250 219 29 it is the complementary color RGB 5 36 226. 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 250 219 29. 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 250 219 29 shade: RGB 255 219 24, RGB 255 237 43, RGB 255 255 62, RGB 255 255 81 and RGB 255 255 100

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 250 219 29. 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 250 219 29 shade: RGB 250 219 29, RGB 233 201 10, RGB 216 183 0, RGB 199 165 0 and RGB 182 147 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 250 219 29 shade: RGB 250 219 30, RGB 250 160 30, RGB 250 100 30, RGB 250 41 30 and RGB 250 30 30

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 250 219 29 shade: RGB 250 219 30, RGB 221 250 30, RGB 162 250 30, RGB 103 250 30 and RGB 43 250 30

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 250 219 29 shade matches the following richer shades: RGB 250 219 30

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 250 219 29 shade: RGB 250 219 30, RGB 231 206 48, RGB 213 192 67, RGB 194 179 85 and RGB 176 166 104

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 250 219 29 shade: RGB 250 99 30, RGB 250 158 30, RGB 250 217 30, RGB 224 250 30 and RGB 165 250 30

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 250 219 29 shade: RGB 194 167 3, RGB 234 202 4, RGB 250 219 30, RGB 251 225 70 and RGB 252 232 110

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 250 219 29 shade: RGB 250 219 29, RGB 30 250 41 and RGB 129 30 250

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 250 219 29 shade: RGB 250 219 29, RGB 30 250 217 and RGB 217 30 250

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 250 219 29 shade: RGB 250 219 29, RGB 30 250 41, RGB 30 63 250 and RGB 250 30 239

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 250 219 29 shade: RGB 250 219 29, RGB 30 250 107, RGB 30 63 250 and RGB 250 30 173

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 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

Complementary color

CMYK 98 / 84 / 0 / 11

HEX #0524E2

RGB 5 36 226

HSL 231.58, 0.96%, 0.45%

LAB 31.31, 62.75, -93.07

 

CMYK 0 / 14 / 91 / 0

HEX #FFDB18

RGB 255 219 24

HSL 50.65, 1%, 0.55%

LAB 87.96, -3.71, 85.42

 

CMYK 0 / 7 / 83 / 0

HEX #FFED2B

RGB 255 237 43

HSL 54.91, 1%, 0.58%

LAB 92.58, -12.29, 85.49

 

CMYK 0 / 0 / 76 / 0

HEX #FFFF3E

RGB 255 255 62

HSL 60, 1%, 0.62%

LAB 97.28, -20.42, 84.68

 

CMYK 0 / 0 / 68 / 0

HEX #FFFF51

RGB 255 255 81

HSL 60, 1%, 0.66%

LAB 97.38, -19.62, 78.71

 

CMYK 0 / 0 / 61 / 0

HEX #FFFF64

RGB 255 255 100

HSL 60, 1%, 0.7%

LAB 97.51, -18.57, 71.69

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

CMYK 0 / 14 / 96 / 9

HEX #E9C90A

RGB 233 201 10

HSL 51.39, 0.92%, 0.48%

LAB 81.36, -4.14, 81.31

 

CMYK 0 / 15 / 100 / 15

HEX #D8B700

RGB 216 183 0

HSL 50.83, 1%, 0.42%

LAB 75.12, -2.32, 77.09

 

CMYK 0 / 17 / 100 / 22

HEX #C7A500

RGB 199 165 0

HSL 49.75, 1%, 0.39%

LAB 68.79, -0.36, 71.87

 

CMYK 0 / 19 / 100 / 29

HEX #B69300

RGB 182 147 0

HSL 48.46, 1%, 0.36%

LAB 62.35, 1.68, 66.55

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1E

RGB 250 219 30

HSL 51.55, 0.96%, 0.55%

LAB 87.52, -5.73, 83.89

 

CMYK 0 / 36 / 88 / 2

HEX #FAA01E

RGB 250 160 30

HSL 35.45, 0.96%, 0.55%

LAB 73.26, 24.8, 72.76

 

CMYK 0 / 60 / 88 / 2

HEX #FA641E

RGB 250 100 30

HSL 19.09, 0.96%, 0.55%

LAB 61.25, 54.45, 63.54

 

CMYK 0 / 84 / 88 / 2

HEX #FA291E

RGB 250 41 30

HSL 3, 0.96%, 0.55%

LAB 54.03, 74.24, 58.11

 

CMYK 0 / 88 / 88 / 2

HEX #FA1E1E

RGB 250 30 30

HSL 0, 0.96%, 0.55%

LAB 53.33, 76.26, 57.59

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1E

RGB 250 219 30

HSL 51.55, 0.96%, 0.55%

LAB 87.52, -5.73, 83.89

 

CMYK 12 / 0 / 88 / 2

HEX #DDFA1E

RGB 221 250 30

HSL 67.91, 0.96%, 0.55%

LAB 93.38, -32.67, 87.58

 

CMYK 35 / 0 / 88 / 2

HEX #A2FA1E

RGB 162 250 30

HSL 84, 0.96%, 0.55%

LAB 89.93, -54.79, 83.33

 

CMYK 59 / 0 / 88 / 2

HEX #67FA1E

RGB 103 250 30

HSL 100.09, 0.96%, 0.55%

LAB 87.65, -72.05, 80.51

 

CMYK 83 / 0 / 88 / 2

HEX #2BFA1E

RGB 43 250 30

HSL 116.45, 0.96%, 0.55%

LAB 86.49, -81.98, 79.06

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1E

RGB 250 219 30

HSL 51.55, 0.96%, 0.55%

LAB 87.52, -5.73, 83.89

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1E

RGB 250 219 30

HSL 51.55, 0.96%, 0.55%

LAB 87.52, -5.73, 83.89

 

CMYK 0 / 11 / 79 / 9

HEX #E7CE30

RGB 231 206 48

HSL 51.8, 0.79%, 0.55%

LAB 82.56, -6.78, 74.83

 

CMYK 0 / 10 / 69 / 16

HEX #D5C043

RGB 213 192 67

HSL 51.37, 0.63%, 0.55%

LAB 77.43, -6.48, 62.85

 

CMYK 0 / 8 / 56 / 24

HEX #C2B355

RGB 194 179 85

HSL 51.74, 0.47%, 0.55%

LAB 72.47, -6.63, 49.13

 

CMYK 0 / 6 / 41 / 31

HEX #B0A668

RGB 176 166 104

HSL 51.67, 0.31%, 0.55%

LAB 67.65, -5.5, 33.37

 

CMYK 0 / 60 / 88 / 2

HEX #FA631E

RGB 250 99 30

HSL 18.82, 0.96%, 0.55%

LAB 61.08, 54.89, 63.41

 

CMYK 0 / 37 / 88 / 2

HEX #FA9E1E

RGB 250 158 30

HSL 34.91, 0.96%, 0.55%

LAB 72.81, 25.85, 72.41

 

CMYK 0 / 13 / 88 / 2

HEX #FAD91E

RGB 250 217 30

HSL 51, 0.96%, 0.55%

LAB 87.02, -4.72, 83.49

 

CMYK 10 / 0 / 88 / 2

HEX #E0FA1E

RGB 224 250 30

HSL 67.09, 0.96%, 0.55%

LAB 93.59, -31.48, 87.83

 

CMYK 34 / 0 / 88 / 2

HEX #A5FA1E

RGB 165 250 30

HSL 83.18, 0.96%, 0.55%

LAB 90.07, -53.76, 83.52

 

CMYK 0 / 14 / 98 / 24

HEX #C2A703

RGB 194 167 3

HSL 51.52, 0.97%, 0.39%

LAB 68.83, -3.62, 71.3

 

CMYK 0 / 14 / 98 / 8

HEX #EACA04

RGB 234 202 4

HSL 51.65, 0.97%, 0.47%

LAB 81.7, -4.27, 82.16

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1E

RGB 250 219 30

HSL 51.55, 0.96%, 0.55%

LAB 87.52, -5.73, 83.89

 

CMYK 0 / 10 / 72 / 2

HEX #FBE146

RGB 251 225 70

HSL 51.38, 0.96%, 0.63%

LAB 89.3, -7.1, 74.58

 

CMYK 0 / 8 / 56 / 1

HEX #FCE86E

RGB 252 232 110

HSL 51.55, 0.96%, 0.71%

LAB 91.48, -7.85, 60.72

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

CMYK 88 / 0 / 84 / 2

HEX #1EFA29

RGB 30 250 41

HSL 123, 0.96%, 0.55%

LAB 86.41, -82.62, 76.77

 

CMYK 48 / 88 / 0 / 2

HEX #811EFA

RGB 129 30 250

HSL 267, 0.96%, 0.55%

LAB 42, 77.77, -88.7

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

CMYK 88 / 0 / 13 / 2

HEX #1EFAD9

RGB 30 250 217

HSL 171, 0.96%, 0.55%

LAB 88.76, -55.48, 2.15

 

CMYK 13 / 88 / 0 / 2

HEX #D91EFA

RGB 217 30 250

HSL 291, 0.96%, 0.55%

LAB 54.64, 89.03, -67.53

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

CMYK 88 / 0 / 84 / 2

HEX #1EFA29

RGB 30 250 41

HSL 123, 0.96%, 0.55%

LAB 86.41, -82.62, 76.77

 

CMYK 88 / 75 / 0 / 2

HEX #1E3FFA

RGB 30 63 250

HSL 231, 0.96%, 0.55%

LAB 39.13, 57.62, -93.68

 

CMYK 0 / 88 / 4 / 2

HEX #FA1EEF

RGB 250 30 239

HSL 303, 0.96%, 0.55%

LAB 59.42, 92.75, -53.43

 

CMYK 0 / 12 / 88 / 2

HEX #FADB1D

RGB 250 219 29

HSL 51.58, 0.96%, 0.55%

LAB 87.52, -5.75, 84.07

 

CMYK 88 / 0 / 57 / 2

HEX #1EFA6B

RGB 30 250 107

HSL 141, 0.96%, 0.55%

LAB 86.85, -77.02, 54.22

 

CMYK 88 / 75 / 0 / 2

HEX #1E3FFA

RGB 30 63 250

HSL 231, 0.96%, 0.55%

LAB 39.13, 57.62, -93.68

 

CMYK 0 / 88 / 31 / 2

HEX #FA1EAD

RGB 250 30 173

HSL 321, 0.96%, 0.55%

LAB 56.36, 84.71, -20.51

 

Description

Color code: RGB 250 219 29 | qconv.com Color code: RGB 250 219 29 | qconv.com - big

With this color yellow stands out from the other colors. The values representing the red and green hue are greater than the third value. They are close together and exceed the value of the 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, 219 green and 29 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.
250 219 29 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, 12 magenta, 88 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% 12% 88% 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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