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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 24 36 it is the complementary color RGB 5 231 219. 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 24 36. 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 24 36 shade: RGB 255 24 31, RGB 255 42 50, RGB 255 60 69, RGB 255 78 88 and RGB 255 96 107

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 24 36. 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 24 36 shade: RGB 250 24 36, RGB 233 6 17, RGB 216 0 0, RGB 199 0 0 and RGB 182 0 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 24 36 shade: RGB 250 25 37 and RGB 250 25 25

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 24 36 shade: RGB 250 25 37, RGB 250 25 97, RGB 250 25 158, RGB 250 25 219 and RGB 220 25 250

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 24 36 shade matches the following richer shades: RGB 250 25 37

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 24 36 shade: RGB 250 25 37, RGB 231 44 54, RGB 212 63 70, RGB 193 82 87 and RGB 174 101 104

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 24 36 shade: RGB 250 25 160, RGB 250 25 100, RGB 250 25 40, RGB 250 70 25 and RGB 250 130 25

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 24 36 shade: RGB 189 3 13, RGB 229 4 16, RGB 250 25 37, RGB 251 65 75 and RGB 251 105 113

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 24 36 shade: RGB 250 24 36, RGB 220 250 25 and RGB 25 130 250

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 24 36 shade: RGB 250 24 36, RGB 40 250 25 and RGB 25 40 250

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 24 36 shade: RGB 250 24 36, RGB 220 250 25, RGB 25 250 235 and RGB 55 25 250

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 24 36 shade: RGB 250 24 36, RGB 152 250 25, RGB 25 250 235 and RGB 122 25 250

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 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

Complementary color

CMYK 98 / 0 / 5 / 9

HEX #05E7DB

RGB 5 231 219

HSL 176.81, 0.96%, 0.46%

LAB 83.07, -47.94, -7.26

 

CMYK 0 / 91 / 88 / 0

HEX #FF181F

RGB 255 24 31

HSL 358.18, 1%, 0.55%

LAB 54.04, 78.38, 58.14

 

CMYK 0 / 84 / 80 / 0

HEX #FF2A32

RGB 255 42 50

HSL 357.75, 1%, 0.58%

LAB 55.22, 75.78, 50.06

 

CMYK 0 / 76 / 73 / 0

HEX #FF3C45

RGB 255 60 69

HSL 357.23, 1%, 0.62%

LAB 57, 71.93, 41.66

 

CMYK 0 / 69 / 65 / 0

HEX #FF4E58

RGB 255 78 88

HSL 356.61, 1%, 0.65%

LAB 59.36, 66.98, 33.73

 

CMYK 0 / 62 / 58 / 0

HEX #FF606B

RGB 255 96 107

HSL 355.85, 1%, 0.69%

LAB 62.24, 61.13, 26.58

 

CMYK 0 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

CMYK 0 / 97 / 93 / 9

HEX #E90611

RGB 233 6 17

HSL 357.09, 0.95%, 0.47%

LAB 48.88, 74.49, 57.99

 

CMYK 0 / 100 / 100 / 15

HEX #D80000

RGB 216 0 0

HSL 0, 1%, 0.42%

LAB 45.08, 70.68, 59.3

 

CMYK 0 / 100 / 100 / 22

HEX #C70000

RGB 199 0 0

HSL 0, 1%, 0.39%

LAB 41.44, 66.47, 55.77

 

CMYK 0 / 100 / 100 / 29

HEX #B60000

RGB 182 0 0

HSL 0, 1%, 0.36%

LAB 37.74, 62.19, 52.16

 

CMYK 0 / 90 / 85 / 2

HEX #FA1925

RGB 250 25 37

HSL 356.8, 0.96%, 0.54%

LAB 53.12, 77.11, 54.27

 

CMYK 0 / 90 / 90 / 2

HEX #FA1919

RGB 250 25 25

HSL 0, 0.96%, 0.54%

LAB 53.05, 76.91, 59.42

 

CMYK 0 / 90 / 85 / 2

HEX #FA1925

RGB 250 25 37

HSL 356.8, 0.96%, 0.54%

LAB 53.12, 77.11, 54.27

 

CMYK 0 / 90 / 61 / 2

HEX #FA1961

RGB 250 25 97

HSL 340.8, 0.96%, 0.54%

LAB 53.9, 79.32, 21.23

 

CMYK 0 / 90 / 37 / 2

HEX #FA199E

RGB 250 25 158

HSL 324.53, 0.96%, 0.54%

LAB 55.57, 83.91, -12.9

 

CMYK 0 / 90 / 12 / 2

HEX #FA19DB

RGB 250 25 219

HSL 308.27, 0.96%, 0.54%

LAB 58.16, 90.73, -44.16

 

CMYK 12 / 90 / 0 / 2

HEX #DC19FA

RGB 220 25 250

HSL 292, 0.96%, 0.54%

LAB 54.88, 90.2, -67.12

 

CMYK 0 / 90 / 85 / 2

HEX #FA1925

RGB 250 25 37

HSL 356.8, 0.96%, 0.54%

LAB 53.12, 77.11, 54.27

 

CMYK 0 / 90 / 85 / 2

HEX #FA1925

RGB 250 25 37

HSL 356.8, 0.96%, 0.54%

LAB 53.12, 77.11, 54.27

 

CMYK 0 / 81 / 77 / 9

HEX #E72C36

RGB 231 44 54

HSL 356.79, 0.8%, 0.54%

LAB 50.75, 69.01, 41.84

 

CMYK 0 / 70 / 67 / 17

HEX #D43F46

RGB 212 63 70

HSL 357.18, 0.63%, 0.54%

LAB 49.49, 58.28, 30.26

 

CMYK 0 / 58 / 55 / 24

HEX #C15257

RGB 193 82 87

HSL 357.3, 0.47%, 0.54%

LAB 49.57, 44.96, 19.64

 

CMYK 0 / 42 / 40 / 32

HEX #AE6568

RGB 174 101 104

HSL 357.53, 0.31%, 0.54%

LAB 51.04, 29.7, 11.1

 

CMYK 0 / 90 / 36 / 2

HEX #FA19A0

RGB 250 25 160

HSL 324, 0.96%, 0.54%

LAB 55.64, 84.1, -13.97

 

CMYK 0 / 90 / 60 / 2

HEX #FA1964

RGB 250 25 100

HSL 340, 0.96%, 0.54%

LAB 53.96, 79.49, 19.5

 

CMYK 0 / 90 / 84 / 2

HEX #FA1928

RGB 250 25 40

HSL 356, 0.96%, 0.54%

LAB 53.14, 77.17, 52.84

 

CMYK 0 / 72 / 90 / 2

HEX #FA4619

RGB 250 70 25

HSL 12, 0.96%, 0.54%

LAB 56.86, 66.17, 62.03

 

CMYK 0 / 48 / 90 / 2

HEX #FA8219

RGB 250 130 25

HSL 28, 0.96%, 0.54%

LAB 66.79, 40.15, 69.13

 

CMYK 0 / 98 / 93 / 26

HEX #BD030D

RGB 189 3 13

HSL 356.77, 0.97%, 0.38%

LAB 39.43, 63.77, 48.99

 

CMYK 0 / 98 / 93 / 10

HEX #E50410

RGB 229 4 16

HSL 356.8, 0.97%, 0.46%

LAB 47.98, 73.66, 57.38

 

CMYK 0 / 90 / 85 / 2

HEX #FA1925

RGB 250 25 37

HSL 356.8, 0.96%, 0.54%

LAB 53.12, 77.11, 54.27

 

CMYK 0 / 74 / 70 / 2

HEX #FB414B

RGB 251 65 75

HSL 356.77, 0.96%, 0.62%

LAB 56.88, 69.54, 37.95

 

CMYK 0 / 58 / 55 / 2

HEX #FB6971

RGB 251 105 113

HSL 356.71, 0.95%, 0.7%

LAB 63.18, 56.36, 24.29

 

CMYK 0 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

CMYK 12 / 0 / 90 / 2

HEX #DCFA19

RGB 220 250 25

HSL 68, 0.96%, 0.54%

LAB 93.3, -33.16, 88.23

 

CMYK 90 / 48 / 0 / 2

HEX #1982FA

RGB 25 130 250

HSL 212, 0.96%, 0.54%

LAB 55.15, 16.39, -67.46

 

CMYK 0 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

CMYK 84 / 0 / 90 / 2

HEX #28FA19

RGB 40 250 25

HSL 116, 0.96%, 0.54%

LAB 86.45, -82.41, 79.8

 

CMYK 90 / 84 / 0 / 2

HEX #1928FA

RGB 25 40 250

HSL 236, 0.96%, 0.54%

LAB 35.25, 68.4, -100.11

 

CMYK 0 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

CMYK 12 / 0 / 90 / 2

HEX #DCFA19

RGB 220 250 25

HSL 68, 0.96%, 0.54%

LAB 93.3, -33.16, 88.23

 

CMYK 90 / 0 / 6 / 2

HEX #19FAEB

RGB 25 250 235

HSL 176, 0.96%, 0.54%

LAB 89.19, -50.92, -6.59

 

CMYK 78 / 90 / 0 / 2

HEX #3719FA

RGB 55 25 250

HSL 248, 0.96%, 0.54%

LAB 34.82, 74.21, -100.8

 

CMYK 0 / 90 / 86 / 2

HEX #FA1824

RGB 250 24 36

HSL 356.81, 0.96%, 0.54%

LAB 53.06, 77.22, 54.7

 

CMYK 39 / 0 / 90 / 2

HEX #98FA19

RGB 152 250 25

HSL 86.13, 0.96%, 0.54%

LAB 89.45, -58.26, 83.51

 

CMYK 90 / 0 / 6 / 2

HEX #19FAEB

RGB 25 250 235

HSL 176, 0.96%, 0.54%

LAB 89.19, -50.92, -6.59

 

CMYK 51 / 90 / 0 / 2

HEX #7A19FA

RGB 122 25 250

HSL 265.87, 0.96%, 0.54%

LAB 40.79, 78.23, -90.72

 

Description

Color code: RGB 250 24 36 | qconv.com Color code: RGB 250 24 36 | qconv.com - big

With this color, red stands out from the other colors. The value that represents the red hue is greater than the other two values. It is far different from the value for the green and blue hue. Since the color values are relatively low compared to others, this hue appears darker to us.

The breakdown of the color into the RGB color system: of 255 maximum color components, 250 red, 24 green and 36 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 24 36 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, 90 magenta, 86 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% 90% 86% 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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