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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 250 210 52 it is the complementary color RGB 5 45 203. 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 250 210 52. 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 250 210 52 shade: RGB 255 210 47, RGB 255 228 66, RGB 255 246 85, RGB 255 255 104 and RGB 255 255 123

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 250 210 52. 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 250 210 52 shade: RGB 250 210 52, RGB 233 192 33, RGB 216 174 14, RGB 199 156 0 and RGB 182 138 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 250 210 52 shade: RGB 249 209 51, RGB 249 156 51, RGB 249 102 51 and RGB 249 51 51

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 250 210 52 shade: RGB 249 209 51, RGB 236 249 51, RGB 182 249 51, RGB 129 249 51 and RGB 75 249 51

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 250 210 52 shade matches the following richer shades: RGB 249 209 51

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 250 210 52 shade: RGB 249 209 51, RGB 232 199 68, RGB 215 189 84, RGB 199 179 101 and RGB 182 169 118

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 250 210 52 shade: RGB 249 100 51, RGB 249 153 51, RGB 249 206 51, RGB 239 249 51 and RGB 186 249 51

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 250 210 52 shade: RGB 212 171 5, RGB 248 200 10, RGB 249 209 51, RGB 250 218 91 and RGB 251 227 131

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 250 210 52 shade: RGB 250 210 52, RGB 54 249 51 and RGB 127 51 249

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 250 210 52 shade: RGB 250 210 52, RGB 51 249 206 and RGB 206 51 249

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 250 210 52 shade: RGB 250 210 52, RGB 54 249 51, RGB 51 94 249 and RGB 246 51 249

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 250 210 52 shade: RGB 250 210 52, RGB 51 249 107, RGB 51 94 249 and RGB 249 51 193

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 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

Complementary color

CMYK 98 / 78 / 0 / 20

HEX #052DCB

RGB 5 45 203

HSL 227.88, 0.95%, 0.41%

LAB 29.96, 51.18, -82.02

 

CMYK 0 / 18 / 82 / 0

HEX #FFD22F

RGB 255 210 47

HSL 47.02, 1%, 0.59%

LAB 85.79, 1.33, 78.77

 

CMYK 0 / 11 / 74 / 0

HEX #FFE442

RGB 255 228 66

HSL 51.43, 1%, 0.63%

LAB 90.39, -7.1, 77.11

 

CMYK 0 / 4 / 67 / 0

HEX #FFF655

RGB 255 246 85

HSL 56.82, 1%, 0.67%

LAB 95.09, -15.08, 74.98

 

CMYK 0 / 0 / 59 / 0

HEX #FFFF68

RGB 255 255 104

HSL 60, 1%, 0.7%

LAB 97.54, -18.31, 70.1

 

CMYK 0 / 0 / 52 / 0

HEX #FFFF7B

RGB 255 255 123

HSL 60, 1%, 0.74%

LAB 97.72, -16.94, 62.16

 

CMYK 0 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

CMYK 0 / 18 / 86 / 9

HEX #E9C021

RGB 233 192 33

HSL 47.7, 0.82%, 0.52%

LAB 79.12, 0.85, 75.91

 

CMYK 0 / 19 / 94 / 15

HEX #D8AE0E

RGB 216 174 14

HSL 47.52, 0.88%, 0.45%

LAB 72.83, 2.54, 73.85

 

CMYK 0 / 22 / 100 / 22

HEX #C79C00

RGB 199 156 0

HSL 47.04, 1%, 0.39%

LAB 66.46, 4.46, 70.24

 

CMYK 0 / 24 / 100 / 29

HEX #B68A00

RGB 182 138 0

HSL 45.49, 1%, 0.36%

LAB 60, 6.61, 64.92

 

CMYK 0 / 16 / 80 / 2

HEX #F9D133

RGB 249 209 51

HSL 47.88, 0.94%, 0.59%

LAB 84.99, -0.57, 76.72

 

CMYK 0 / 37 / 80 / 2

HEX #F99C33

RGB 249 156 51

HSL 31.82, 0.94%, 0.59%

LAB 72.33, 27.02, 65.38

 

CMYK 0 / 59 / 80 / 2

HEX #F96633

RGB 249 102 51

HSL 15.45, 0.94%, 0.59%

LAB 61.55, 53.73, 55.31

 

CMYK 0 / 80 / 80 / 2

HEX #F93333

RGB 249 51 51

HSL 0, 0.94%, 0.59%

LAB 54.81, 72.11, 48.74

 

CMYK 0 / 16 / 80 / 2

HEX #F9D133

RGB 249 209 51

HSL 47.88, 0.94%, 0.59%

LAB 84.99, -0.57, 76.72

 

CMYK 5 / 0 / 80 / 2

HEX #ECF933

RGB 236 249 51

HSL 63.94, 0.94%, 0.59%

LAB 94.24, -25.64, 84.4

 

CMYK 27 / 0 / 80 / 2

HEX #B6F933

RGB 182 249 51

HSL 80.3, 0.94%, 0.59%

LAB 90.75, -46.62, 79.98

 

CMYK 48 / 0 / 80 / 2

HEX #81F933

RGB 129 249 51

HSL 96.36, 0.94%, 0.59%

LAB 88.28, -64.1, 76.82

 

CMYK 70 / 0 / 80 / 2

HEX #4BF933

RGB 75 249 51

HSL 112.73, 0.94%, 0.59%

LAB 86.74, -76.55, 74.84

 

CMYK 0 / 16 / 80 / 2

HEX #F9D133

RGB 249 209 51

HSL 47.88, 0.94%, 0.59%

LAB 84.99, -0.57, 76.72

 

CMYK 0 / 16 / 80 / 2

HEX #F9D133

RGB 249 209 51

HSL 47.88, 0.94%, 0.59%

LAB 84.99, -0.57, 76.72

 

CMYK 0 / 14 / 71 / 9

HEX #E8C744

RGB 232 199 68

HSL 47.93, 0.78%, 0.59%

LAB 80.97, -1.97, 66.59

 

CMYK 0 / 12 / 61 / 16

HEX #D7BD54

RGB 215 189 84

HSL 48.09, 0.62%, 0.59%

LAB 76.97, -3.05, 55.19

 

CMYK 0 / 10 / 49 / 22

HEX #C7B365

RGB 199 179 101

HSL 47.76, 0.47%, 0.59%

LAB 73.1, -3.16, 42.17

 

CMYK 0 / 7 / 35 / 29

HEX #B6A976

RGB 182 169 118

HSL 47.81, 0.3%, 0.59%

LAB 69.2, -3, 28.05

 

CMYK 0 / 60 / 80 / 2

HEX #F96433

RGB 249 100 51

HSL 14.85, 0.94%, 0.59%

LAB 61.21, 54.62, 54.99

 

CMYK 0 / 39 / 80 / 2

HEX #F99933

RGB 249 153 51

HSL 30.91, 0.94%, 0.59%

LAB 71.66, 28.59, 64.77

 

CMYK 0 / 17 / 80 / 2

HEX #F9CE33

RGB 249 206 51

HSL 46.97, 0.94%, 0.59%

LAB 84.24, 0.96, 76.06

 

CMYK 4 / 0 / 80 / 2

HEX #EFF933

RGB 239 249 51

HSL 63.03, 0.94%, 0.59%

LAB 94.46, -24.43, 84.68

 

CMYK 25 / 0 / 80 / 2

HEX #BAF933

RGB 186 249 51

HSL 79.09, 0.94%, 0.59%

LAB 90.98, -45.15, 80.27

 

CMYK 0 / 19 / 98 / 17

HEX #D4AB05

RGB 212 171 5

HSL 48.12, 0.95%, 0.43%

LAB 71.65, 2.27, 73.88

 

CMYK 0 / 19 / 96 / 3

HEX #F8C80A

RGB 248 200 10

HSL 47.9, 0.94%, 0.51%

LAB 82.53, 2.82, 82.81

 

CMYK 0 / 16 / 80 / 2

HEX #F9D133

RGB 249 209 51

HSL 47.88, 0.94%, 0.59%

LAB 84.99, -0.57, 76.72

 

CMYK 0 / 13 / 64 / 2

HEX #FADA5B

RGB 250 218 91

HSL 47.92, 0.94%, 0.67%

LAB 87.59, -2.9, 64.64

 

CMYK 0 / 10 / 48 / 2

HEX #FBE383

RGB 251 227 131

HSL 48, 0.94%, 0.75%

LAB 90.36, -4.04, 49.6

 

CMYK 0 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

CMYK 78 / 0 / 80 / 2

HEX #36F933

RGB 54 249 51

HSL 119.09, 0.94%, 0.59%

LAB 86.39, -79.6, 74.38

 

CMYK 49 / 80 / 0 / 2

HEX #7F33F9

RGB 127 51 249

HSL 263.03, 0.94%, 0.59%

LAB 43.83, 70.95, -85.13

 

CMYK 0 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

CMYK 80 / 0 / 17 / 2

HEX #33F9CE

RGB 51 249 206

HSL 166.97, 0.94%, 0.59%

LAB 88.41, -56.38, 7.38

 

CMYK 17 / 80 / 0 / 2

HEX #CE33F9

RGB 206 51 249

HSL 286.97, 0.94%, 0.59%

LAB 54.37, 82.68, -67.49

 

CMYK 0 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

CMYK 78 / 0 / 80 / 2

HEX #36F933

RGB 54 249 51

HSL 119.09, 0.94%, 0.59%

LAB 86.39, -79.6, 74.38

 

CMYK 80 / 62 / 0 / 2

HEX #335EF9

RGB 51 94 249

HSL 226.97, 0.94%, 0.59%

LAB 46.38, 40.29, -81.15

 

CMYK 1 / 80 / 0 / 2

HEX #F633F9

RGB 246 51 249

HSL 299.09, 0.94%, 0.59%

LAB 60.6, 89.69, -57.15

 

CMYK 0 / 16 / 79 / 2

HEX #FAD234

RGB 250 210 52

HSL 47.88, 0.95%, 0.59%

LAB 85.33, -0.63, 76.76

 

CMYK 80 / 0 / 57 / 2

HEX #33F96B

RGB 51 249 107

HSL 136.97, 0.94%, 0.59%

LAB 86.76, -74.93, 54.17

 

CMYK 80 / 62 / 0 / 2

HEX #335EF9

RGB 51 94 249

HSL 226.97, 0.94%, 0.59%

LAB 46.38, 40.29, -81.15

 

CMYK 0 / 80 / 22 / 2

HEX #F933C1

RGB 249 51 193

HSL 316.97, 0.94%, 0.59%

LAB 58.37, 82.71, -29.01

 

Description

Color code: RGB 250 210 52 | qconv.com Color code: RGB 250 210 52 | 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, 210 green and 52 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.
250 210 52 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, 16 magenta, 79 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% 16% 79% 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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