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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 81 40 it is the complementary color RGB 5 174 215. 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 81 40. 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 81 40 shade: RGB 255 81 35, RGB 255 99 54, RGB 255 117 73, RGB 255 135 92 and RGB 255 153 111

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 81 40. 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 81 40 shade: RGB 250 81 40, RGB 233 63 21, RGB 216 45 2, RGB 199 27 0 and RGB 182 9 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 81 40 shade: RGB 249 81 41 and RGB 249 41 41

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 81 40 shade: RGB 249 81 41, RGB 249 138 41, RGB 249 194 41, RGB 248 249 41 and RGB 192 249 41

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 81 40 shade matches the following richer shades: RGB 249 81 41

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 81 40 shade: RGB 249 81 41, RGB 231 92 58, RGB 214 103 76, RGB 196 114 94 and RGB 178 125 112

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 81 40 shade: RGB 249 41 114, RGB 249 41 58, RGB 249 79 41, RGB 249 134 41 and RGB 249 190 41

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 81 40 shade: RGB 202 43 5, RGB 243 52 6, RGB 249 81 41, RGB 250 114 81 and RGB 251 146 121

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 81 40 shade: RGB 250 81 40, RGB 169 249 41 and RGB 41 86 249

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 81 40 shade: RGB 250 81 40, RGB 41 249 79 and RGB 79 41 249

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 81 40 shade: RGB 250 81 40, RGB 169 249 41, RGB 41 211 249 and RGB 121 41 249

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 81 40 shade: RGB 250 81 40, RGB 107 249 41, RGB 41 211 249 and RGB 183 41 249

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 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

Complementary color

CMYK 98 / 19 / 0 / 16

HEX #05AED7

RGB 5 174 215

HSL 191.71, 0.95%, 0.43%

LAB 65.91, -22.51, -31.09

 

CMYK 0 / 68 / 86 / 0

HEX #FF5123

RGB 255 81 35

HSL 12.55, 1%, 0.57%

LAB 59.22, 63.98, 60.5

 

CMYK 0 / 61 / 79 / 0

HEX #FF6336

RGB 255 99 54

HSL 13.43, 1%, 0.61%

LAB 62.04, 57.22, 54.72

 

CMYK 0 / 54 / 71 / 0

HEX #FF7549

RGB 255 117 73

HSL 14.51, 1%, 0.64%

LAB 65.33, 49.83, 48.85

 

CMYK 0 / 47 / 64 / 0

HEX #FF875C

RGB 255 135 92

HSL 15.83, 1%, 0.68%

LAB 69.01, 42.08, 43.3

 

CMYK 0 / 40 / 56 / 0

HEX #FF996F

RGB 255 153 111

HSL 17.5, 1%, 0.72%

LAB 73.02, 34.22, 38.23

 

CMYK 0 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

CMYK 0 / 73 / 91 / 9

HEX #E93F15

RGB 233 63 21

HSL 11.89, 0.83%, 0.5%

LAB 52.88, 63.26, 59.18

 

CMYK 0 / 79 / 99 / 15

HEX #D82D02

RGB 216 45 2

HSL 12.06, 0.98%, 0.43%

LAB 47.6, 63.51, 59.71

 

CMYK 0 / 86 / 100 / 22

HEX #C71B00

RGB 199 27 0

HSL 8.14, 1%, 0.39%

LAB 42.65, 62.98, 56.21

 

CMYK 0 / 95 / 100 / 29

HEX #B60900

RGB 182 9 0

HSL 2.97, 1%, 0.36%

LAB 38.09, 61.17, 52.3

 

CMYK 0 / 67 / 84 / 2

HEX #F95129

RGB 249 81 41

HSL 11.54, 0.95%, 0.57%

LAB 58.21, 62.19, 56.73

 

CMYK 0 / 84 / 84 / 2

HEX #F92929

RGB 249 41 41

HSL 0, 0.95%, 0.57%

LAB 53.91, 74.19, 52.95

 

CMYK 0 / 67 / 84 / 2

HEX #F95129

RGB 249 81 41

HSL 11.54, 0.95%, 0.57%

LAB 58.21, 62.19, 56.73

 

CMYK 0 / 45 / 84 / 2

HEX #F98A29

RGB 249 138 41

HSL 27.98, 0.95%, 0.57%

LAB 68.37, 36.04, 65.48

 

CMYK 0 / 22 / 84 / 2

HEX #F9C229

RGB 249 194 41

HSL 44.13, 0.95%, 0.57%

LAB 81.23, 6.86, 76.31

 

CMYK 0 / 0 / 84 / 2

HEX #F8F929

RGB 248 249 41

HSL 60.29, 0.95%, 0.57%

LAB 95.11, -21.03, 87.78

 

CMYK 23 / 0 / 84 / 2

HEX #C0F929

RGB 192 249 41

HSL 76.44, 0.95%, 0.57%

LAB 91.29, -43.24, 83.04

 

CMYK 0 / 67 / 84 / 2

HEX #F95129

RGB 249 81 41

HSL 11.54, 0.95%, 0.57%

LAB 58.21, 62.19, 56.73

 

CMYK 0 / 67 / 84 / 2

HEX #F95129

RGB 249 81 41

HSL 11.54, 0.95%, 0.57%

LAB 58.21, 62.19, 56.73

 

CMYK 0 / 60 / 75 / 9

HEX #E75C3A

RGB 231 92 58

HSL 11.79, 0.78%, 0.57%

LAB 57.03, 52.1, 46.4

 

CMYK 0 / 52 / 64 / 16

HEX #D6674C

RGB 214 103 76

HSL 11.74, 0.63%, 0.57%

LAB 56.6, 41.6, 35.6

 

CMYK 0 / 42 / 52 / 23

HEX #C4725E

RGB 196 114 94

HSL 11.76, 0.46%, 0.57%

LAB 56.66, 30.24, 25.04

 

CMYK 0 / 30 / 37 / 30

HEX #B27D70

RGB 178 125 112

HSL 11.82, 0.3%, 0.57%

LAB 57.37, 18.88, 15.32

 

CMYK 0 / 84 / 54 / 2

HEX #F92972

RGB 249 41 114

HSL 338.94, 0.95%, 0.57%

LAB 55.01, 77.45, 12.49

 

CMYK 0 / 84 / 77 / 2

HEX #F9293A

RGB 249 41 58

HSL 355.1, 0.95%, 0.57%

LAB 54.06, 74.65, 44.21

 

CMYK 0 / 68 / 84 / 2

HEX #F94F29

RGB 249 79 41

HSL 10.96, 0.95%, 0.57%

LAB 57.93, 62.95, 56.49

 

CMYK 0 / 46 / 84 / 2

HEX #F98629

RGB 249 134 41

HSL 26.83, 0.95%, 0.57%

LAB 67.54, 38.07, 64.77

 

CMYK 0 / 24 / 84 / 2

HEX #F9BE29

RGB 249 190 41

HSL 42.98, 0.95%, 0.57%

LAB 80.25, 8.93, 75.49

 

CMYK 0 / 79 / 98 / 21

HEX #CA2B05

RGB 202 43 5

HSL 11.57, 0.95%, 0.41%

LAB 44.65, 59.98, 55.87

 

CMYK 0 / 79 / 98 / 5

HEX #F33406

RGB 243 52 6

HSL 11.65, 0.95%, 0.49%

LAB 53.52, 69.41, 64.47

 

CMYK 0 / 67 / 84 / 2

HEX #F95129

RGB 249 81 41

HSL 11.54, 0.95%, 0.57%

LAB 58.21, 62.19, 56.73

 

CMYK 0 / 54 / 68 / 2

HEX #FA7251

RGB 250 114 81

HSL 11.72, 0.94%, 0.65%

LAB 64.12, 49.83, 43.14

 

CMYK 0 / 42 / 52 / 2

HEX #FB9279

RGB 251 146 121

HSL 11.54, 0.94%, 0.73%

LAB 71.18, 37.1, 30.4

 

CMYK 0 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

CMYK 32 / 0 / 84 / 2

HEX #A9F929

RGB 169 249 41

HSL 83.08, 0.95%, 0.57%

LAB 90.02, -51.65, 81.45

 

CMYK 84 / 65 / 0 / 2

HEX #2956F9

RGB 41 86 249

HSL 227.02, 0.95%, 0.57%

LAB 44.18, 44.48, -84.76

 

CMYK 0 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

CMYK 84 / 0 / 68 / 2

HEX #29F94F

RGB 41 249 79

HSL 130.96, 0.95%, 0.57%

LAB 86.4, -78.94, 65.25

 

CMYK 68 / 84 / 0 / 2

HEX #4F29F9

RGB 79 41 249

HSL 250.96, 0.95%, 0.57%

LAB 38, 70.07, -94.91

 

CMYK 0 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

CMYK 32 / 0 / 84 / 2

HEX #A9F929

RGB 169 249 41

HSL 83.08, 0.95%, 0.57%

LAB 90.02, -51.65, 81.45

 

CMYK 84 / 15 / 0 / 2

HEX #29D3F9

RGB 41 211 249

HSL 190.96, 0.95%, 0.57%

LAB 78.4, -28.18, -30.24

 

CMYK 51 / 84 / 0 / 2

HEX #7929F9

RGB 121 41 249

HSL 263.08, 0.95%, 0.57%

LAB 41.99, 73.71, -88.19

 

CMYK 0 / 68 / 84 / 2

HEX #FA5128

RGB 250 81 40

HSL 11.71, 0.95%, 0.57%

LAB 58.38, 62.49, 57.38

 

CMYK 57 / 0 / 84 / 2

HEX #6BF929

RGB 107 249 41

HSL 100.96, 0.95%, 0.57%

LAB 87.5, -70.38, 78.28

 

CMYK 84 / 15 / 0 / 2

HEX #29D3F9

RGB 41 211 249

HSL 190.96, 0.95%, 0.57%

LAB 78.4, -28.18, -30.24

 

CMYK 27 / 84 / 0 / 2

HEX #B729F9

RGB 183 41 249

HSL 280.96, 0.95%, 0.57%

LAB 50.09, 81.6, -74.6

 

Description

Color code: RGB 250 81 40 | qconv.com Color code: RGB 250 81 40 | 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 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, 81 green and 40 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 81 40 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, 68 magenta, 84 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% 68% 84% 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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