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Color name
RGB 251 196 181

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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 251 196 181 it is the complementary color RGB 4 59 74. 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 251 196 181. 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 251 196 181 shade: RGB 255 196 176, RGB 255 214 195, RGB 255 232 214, RGB 255 250 233 and RGB 255 255 252

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 251 196 181. 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 251 196 181 shade: RGB 251 196 181, RGB 234 178 162, RGB 217 160 143, RGB 200 142 124 and RGB 183 124 105

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 251 196 181 shade: RGB 251 197 182 and RGB 251 182 182

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 251 196 181 shade: RGB 251 197 182, RGB 251 215 182, RGB 251 234 182, RGB 249 251 182 and RGB 231 251 182

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 251 196 181 shade matches the following richer shades: RGB 251 197 182

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 251 196 181 shade: RGB 251 197 182, RGB 244 200 188, RGB 238 204 194, RGB 232 207 200 and RGB 226 211 207

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 251 196 181 shade: RGB 251 182 205, RGB 251 182 186, RGB 251 196 182, RGB 251 214 182 and RGB 251 232 182

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 251 196 181 shade: RGB 247 134 103, RGB 249 165 143, RGB 251 197 182 and RGB 253 228 221

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 251 196 181 shade: RGB 251 196 181, RGB 223 251 182 and RGB 182 196 251

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 251 196 181 shade: RGB 251 196 181, RGB 182 251 196 and RGB 196 182 251

The colors should be well chosen to achieve triadic harmony. Let one color dominate and use the other two as accent colors.

Rectangular (tetradic) 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 251 196 181 shade: RGB 251 196 181, RGB 223 251 182, RGB 182 237 251 and RGB 209 182 251

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 251 196 181 shade: RGB 251 196 181, RGB 202 251 182, RGB 182 237 251 and RGB 230 182 251

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 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

Complementary color

CMYK 95 / 20 / 0 / 71

HEX #043B4A

RGB 4 59 74

HSL 192.86, 0.9%, 0.15%

LAB 22.47, -10.49, -13.91

 

CMYK 0 / 23 / 31 / 0

HEX #FFC4B0

RGB 255 196 176

HSL 15.19, 1%, 0.85%

LAB 83.9, 18.37, 18.17

 

CMYK 0 / 16 / 24 / 0

HEX #FFD6C3

RGB 255 214 195

HSL 19, 1%, 0.88%

LAB 88.59, 11.51, 14.72

 

CMYK 0 / 9 / 16 / 0

HEX #FFE8D6

RGB 255 232 214

HSL 26.34, 1%, 0.92%

LAB 93.38, 4.99, 11.59

 

CMYK 0 / 2 / 9 / 0

HEX #FFFAE9

RGB 255 250 233

HSL 46.36, 1%, 0.96%

LAB 98.24, -1.18, 8.73

 

CMYK 0 / 0 / 1 / 0

HEX #FFFFFC

RGB 255 255 252

HSL 60, 1%, 0.99%

LAB 99.93, -0.52, 1.42

RGB 255 255 252

CMYK 0 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

CMYK 0 / 24 / 31 / 8

HEX #EAB2A2

RGB 234 178 162

HSL 13.33, 0.63%, 0.78%

LAB 77.25, 18.17, 16.07

 

CMYK 0 / 26 / 34 / 15

HEX #D9A08F

RGB 217 160 143

HSL 13.78, 0.49%, 0.71%

LAB 70.79, 18.9, 17.16

 

CMYK 0 / 29 / 38 / 22

HEX #C88E7C

RGB 200 142 124

HSL 14.21, 0.41%, 0.64%

LAB 64.23, 19.71, 18.36

 

CMYK 0 / 32 / 43 / 28

HEX #B77C69

RGB 183 124 105

HSL 14.62, 0.35%, 0.56%

LAB 57.56, 20.63, 19.68

 

CMYK 0 / 22 / 27 / 2

HEX #FBC5B6

RGB 251 197 182

HSL 13.04, 0.9%, 0.85%

LAB 83.87, 17.13, 14.89

 

CMYK 0 / 27 / 27 / 2

HEX #FBB6B6

RGB 251 182 182

HSL 0, 0.9%, 0.85%

LAB 80.37, 25.02, 9.93

 

CMYK 0 / 22 / 27 / 2

HEX #FBC5B6

RGB 251 197 182

HSL 13.04, 0.9%, 0.85%

LAB 83.87, 17.13, 14.89

 

CMYK 0 / 14 / 27 / 2

HEX #FBD7B6

RGB 251 215 182

HSL 28.7, 0.9%, 0.85%

LAB 88.2, 7.75, 20.94

 

CMYK 0 / 7 / 27 / 2

HEX #FBEAB6

RGB 251 234 182

HSL 45.22, 0.9%, 0.85%

LAB 92.9, -1.97, 27.39

 

CMYK 1 / 0 / 27 / 2

HEX #F9FBB6

RGB 249 251 182

HSL 61.74, 0.9%, 0.85%

LAB 97.03, -11.19, 32.95

 

CMYK 8 / 0 / 27 / 2

HEX #E7FBB6

RGB 231 251 182

HSL 77.39, 0.9%, 0.85%

LAB 95.73, -17.73, 30.98

 

CMYK 0 / 22 / 27 / 2

HEX #FBC5B6

RGB 251 197 182

HSL 13.04, 0.9%, 0.85%

LAB 83.87, 17.13, 14.89

 

CMYK 0 / 22 / 27 / 2

HEX #FBC5B6

RGB 251 197 182

HSL 13.04, 0.9%, 0.85%

LAB 83.87, 17.13, 14.89

 

CMYK 0 / 18 / 23 / 4

HEX #F4C8BC

RGB 244 200 188

HSL 12.86, 0.72%, 0.85%

LAB 84.06, 13.8, 11.86

 

CMYK 0 / 14 / 18 / 7

HEX #EECCC2

RGB 238 204 194

HSL 13.64, 0.56%, 0.85%

LAB 84.62, 10.39, 9.39

 

CMYK 0 / 11 / 14 / 9

HEX #E8CFC8

RGB 232 207 200

HSL 13.13, 0.41%, 0.85%

LAB 84.97, 7.58, 6.65

 

CMYK 0 / 7 / 8 / 11

HEX #E2D3CF

RGB 226 211 207

HSL 12.63, 0.25%, 0.85%

LAB 85.64, 4.5, 3.83

 

CMYK 0 / 27 / 18 / 2

HEX #FBB6CD

RGB 251 182 205

HSL 340, 0.9%, 0.85%

LAB 80.95, 28.29, -1.66

 

CMYK 0 / 27 / 26 / 2

HEX #FBB6BA

RGB 251 182 186

HSL 356.52, 0.9%, 0.85%

LAB 80.47, 25.56, 7.9

 

CMYK 0 / 22 / 27 / 2

HEX #FBC4B6

RGB 251 196 182

HSL 12.17, 0.9%, 0.85%

LAB 83.63, 17.66, 14.55

 

CMYK 0 / 15 / 27 / 2

HEX #FBD6B6

RGB 251 214 182

HSL 27.83, 0.9%, 0.85%

LAB 87.96, 8.27, 20.6

 

CMYK 0 / 8 / 27 / 2

HEX #FBE8B6

RGB 251 232 182

HSL 43.48, 0.9%, 0.85%

LAB 92.4, -0.95, 26.71

 

CMYK 0 / 46 / 58 / 3

HEX #F78667

RGB 247 134 103

HSL 12.92, 0.9%, 0.69%

LAB 67.88, 40.29, 35.81

 

CMYK 0 / 34 / 43 / 2

HEX #F9A58F

RGB 249 165 143

HSL 12.45, 0.9%, 0.77%

LAB 75.47, 28.55, 24.16

 

CMYK 0 / 22 / 27 / 2

HEX #FBC5B6

RGB 251 197 182

HSL 13.04, 0.9%, 0.85%

LAB 83.87, 17.13, 14.89

 

CMYK 0 / 10 / 13 / 1

HEX #FDE4DD

RGB 253 228 221

HSL 13.13, 0.89%, 0.93%

LAB 92.39, 7.42, 6.51

 

CMYK 0 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

CMYK 11 / 0 / 27 / 2

HEX #DFFBB6

RGB 223 251 182

HSL 84.35, 0.9%, 0.85%

LAB 95.19, -20.58, 30.15

 

CMYK 27 / 22 / 0 / 2

HEX #B6C4FB

RGB 182 196 251

HSL 227.83, 0.9%, 0.85%

LAB 79.84, 7.19, -28.64

 

CMYK 0 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

CMYK 27 / 0 / 22 / 2

HEX #B6FBC4

RGB 182 251 196

HSL 132.17, 0.9%, 0.85%

LAB 92.98, -32.07, 19.61

 

CMYK 22 / 27 / 0 / 2

HEX #C4B6FB

RGB 196 182 251

HSL 252.17, 0.9%, 0.85%

LAB 77.37, 18.94, -32.33

 

CMYK 0 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

CMYK 11 / 0 / 27 / 2

HEX #DFFBB6

RGB 223 251 182

HSL 84.35, 0.9%, 0.85%

LAB 95.19, -20.58, 30.15

 

CMYK 27 / 6 / 0 / 2

HEX #B6EDFB

RGB 182 237 251

HSL 192.17, 0.9%, 0.85%

LAB 90.54, -14.27, -12.44

 

CMYK 17 / 27 / 0 / 2

HEX #D1B6FB

RGB 209 182 251

HSL 263.48, 0.9%, 0.85%

LAB 78.45, 22.85, -30.59

 

CMYK 0 / 22 / 28 / 2

HEX #FBC4B5

RGB 251 196 181

HSL 12.86, 0.9%, 0.85%

LAB 83.61, 17.53, 15.05

 

CMYK 20 / 0 / 27 / 2

HEX #CAFBB6

RGB 202 251 182

HSL 102.61, 0.9%, 0.85%

LAB 93.85, -27.85, 28.12

 

CMYK 27 / 6 / 0 / 2

HEX #B6EDFB

RGB 182 237 251

HSL 192.17, 0.9%, 0.85%

LAB 90.54, -14.27, -12.44

 

CMYK 8 / 27 / 0 / 2

HEX #E6B6FB

RGB 230 182 251

HSL 281.74, 0.9%, 0.85%

LAB 80.32, 29.33, -27.56

 

Description

Color code: RGB 251 196 181 | qconv.com Color code: RGB 251 196 181 | 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, 251 red, 196 green and 181 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.
251 196 181 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, 22 magenta, 28 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% 22% 28% 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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