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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 83 54 it is the complementary color RGB 4 172 201. 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 83 54. 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 83 54 shade: RGB 255 83 49, RGB 255 101 68, RGB 255 119 87, RGB 255 137 106 and RGB 255 155 125

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 83 54. 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 83 54 shade: RGB 251 83 54, RGB 234 65 35, RGB 217 47 16, RGB 200 29 0 and RGB 183 11 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 251 83 54 shade: RGB 250 83 55 and RGB 250 55 55

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 83 54 shade: RGB 250 83 55, RGB 250 136 55, RGB 250 189 55, RGB 250 242 55 and RGB 206 250 55

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 83 54 shade matches the following richer shades: RGB 250 83 55

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 83 54 shade: RGB 250 83 55, RGB 234 95 71, RGB 217 107 88, RGB 201 118 104 and RGB 184 130 121

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 83 54 shade: RGB 250 55 133, RGB 250 55 81, RGB 250 81 55, RGB 250 133 55 and RGB 250 185 55

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 83 54 shade: RGB 219 36 4, RGB 250 49 14, RGB 250 83 55, RGB 251 118 95 and RGB 252 153 135

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 83 54 shade: RGB 251 83 54, RGB 185 250 55 and RGB 55 107 250

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 251 83 54 shade: RGB 251 83 54, RGB 55 250 81 and RGB 81 55 250

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 251 83 54 shade: RGB 251 83 54, RGB 185 250 55, RGB 55 224 250 and RGB 120 55 250

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 251 83 54 shade: RGB 251 83 54, RGB 126 250 55, RGB 55 224 250 and RGB 179 55 250

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 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

Complementary color

CMYK 98 / 14 / 0 / 21

HEX #04ACC9

RGB 4 172 201

HSL 188.83, 0.96%, 0.4%

LAB 64.76, -26.28, -25.12

 

CMYK 0 / 67 / 81 / 0

HEX #FF5331

RGB 255 83 49

HSL 9.9, 1%, 0.6%

LAB 59.59, 63.56, 54.73

 

CMYK 0 / 60 / 73 / 0

HEX #FF6544

RGB 255 101 68

HSL 10.59, 1%, 0.63%

LAB 62.49, 56.87, 48.29

 

CMYK 0 / 53 / 66 / 0

HEX #FF7757

RGB 255 119 87

HSL 11.43, 1%, 0.67%

LAB 65.86, 49.59, 42.18

 

CMYK 0 / 46 / 58 / 0

HEX #FF896A

RGB 255 137 106

HSL 12.48, 1%, 0.71%

LAB 69.61, 42, 36.6

 

CMYK 0 / 39 / 51 / 0

HEX #FF9B7D

RGB 255 155 125

HSL 13.85, 1%, 0.75%

LAB 73.66, 34.33, 31.59

 

CMYK 0 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

CMYK 0 / 72 / 85 / 8

HEX #EA4123

RGB 234 65 35

HSL 9.05, 0.83%, 0.53%

LAB 53.38, 63.14, 54.17

 

CMYK 0 / 78 / 93 / 15

HEX #D92F10

RGB 217 47 16

HSL 9.25, 0.86%, 0.46%

LAB 48.04, 63.38, 56.18

 

CMYK 0 / 86 / 100 / 22

HEX #C81D00

RGB 200 29 0

HSL 8.7, 1%, 0.39%

LAB 43, 62.85, 56.47

 

CMYK 0 / 94 / 100 / 28

HEX #B70B00

RGB 183 11 0

HSL 3.61, 1%, 0.36%

LAB 38.39, 61.21, 52.54

 

CMYK 0 / 67 / 78 / 2

HEX #FA5337

RGB 250 83 55

HSL 8.62, 0.95%, 0.6%

LAB 58.78, 62.14, 50.73

 

CMYK 0 / 78 / 78 / 2

HEX #FA3737

RGB 250 55 55

HSL 0, 0.95%, 0.6%

LAB 55.41, 71.45, 47.31

 

CMYK 0 / 67 / 78 / 2

HEX #FA5337

RGB 250 83 55

HSL 8.62, 0.95%, 0.6%

LAB 58.78, 62.14, 50.73

 

CMYK 0 / 46 / 78 / 2

HEX #FA8837

RGB 250 136 55

HSL 24.92, 0.95%, 0.6%

LAB 68.17, 37.88, 59.95

 

CMYK 0 / 24 / 78 / 2

HEX #FABD37

RGB 250 189 55

HSL 41.23, 0.95%, 0.6%

LAB 80.18, 10.3, 71.17

 

CMYK 0 / 3 / 78 / 2

HEX #FAF237

RGB 250 242 55

HSL 57.54, 0.95%, 0.6%

LAB 93.5, -16.45, 83.11

 

CMYK 18 / 0 / 78 / 2

HEX #CEFA37

RGB 206 250 55

HSL 73.54, 0.95%, 0.6%

LAB 92.47, -37.85, 81.01

 

CMYK 0 / 67 / 78 / 2

HEX #FA5337

RGB 250 83 55

HSL 8.62, 0.95%, 0.6%

LAB 58.78, 62.14, 50.73

 

CMYK 0 / 67 / 78 / 2

HEX #FA5337

RGB 250 83 55

HSL 8.62, 0.95%, 0.6%

LAB 58.78, 62.14, 50.73

 

CMYK 0 / 59 / 70 / 8

HEX #EA5F47

RGB 234 95 71

HSL 8.83, 0.8%, 0.6%

LAB 58.16, 52.39, 40.93

 

CMYK 0 / 51 / 59 / 15

HEX #D96B58

RGB 217 107 88

HSL 8.84, 0.63%, 0.6%

LAB 58.01, 41.53, 30.75

 

CMYK 0 / 41 / 48 / 21

HEX #C97668

RGB 201 118 104

HSL 8.66, 0.47%, 0.6%

LAB 58.39, 31, 21.75

 

CMYK 0 / 29 / 34 / 28

HEX #B88279

RGB 184 130 121

HSL 8.57, 0.31%, 0.6%

LAB 59.47, 19.63, 13.19

 

CMYK 0 / 78 / 47 / 2

HEX #FA3785

RGB 250 55 133

HSL 336, 0.95%, 0.6%

LAB 56.83, 75.84, 3.77

 

CMYK 0 / 78 / 68 / 2

HEX #FA3751

RGB 250 55 81

HSL 352, 0.95%, 0.6%

LAB 55.74, 72.46, 33.08

 

CMYK 0 / 68 / 78 / 2

HEX #FA5137

RGB 250 81 55

HSL 8, 0.95%, 0.6%

LAB 58.49, 62.91, 50.45

 

CMYK 0 / 47 / 78 / 2

HEX #FA8537

RGB 250 133 55

HSL 24, 0.95%, 0.6%

LAB 67.56, 39.39, 59.36

 

CMYK 0 / 26 / 78 / 2

HEX #FAB937

RGB 250 185 55

HSL 40, 0.95%, 0.6%

LAB 79.21, 12.39, 70.28

 

CMYK 0 / 84 / 98 / 14

HEX #DB2404

RGB 219 36 4

HSL 8.93, 0.96%, 0.44%

LAB 47.41, 66.63, 59.4

 

CMYK 0 / 80 / 94 / 2

HEX #FA310E

RGB 250 49 14

HSL 8.9, 0.96%, 0.52%

LAB 54.61, 72.22, 63.94

 

CMYK 0 / 67 / 78 / 2

HEX #FA5337

RGB 250 83 55

HSL 8.62, 0.95%, 0.6%

LAB 58.78, 62.14, 50.73

 

CMYK 0 / 53 / 62 / 2

HEX #FB765F

RGB 251 118 95

HSL 8.85, 0.95%, 0.68%

LAB 65.19, 49.1, 36.93

 

CMYK 0 / 39 / 46 / 1

HEX #FC9987

RGB 252 153 135

HSL 9.23, 0.95%, 0.76%

LAB 73.04, 35.14, 25.28

 

CMYK 0 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

CMYK 26 / 0 / 78 / 2

HEX #B9FA37

RGB 185 250 55

HSL 80, 0.95%, 0.6%

LAB 91.22, -45.78, 79.4

 

CMYK 78 / 57 / 0 / 2

HEX #376BFA

RGB 55 107 250

HSL 224, 0.95%, 0.6%

LAB 49.77, 32.91, -76.15

 

CMYK 0 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

CMYK 78 / 0 / 68 / 2

HEX #37FA51

RGB 55 250 81

HSL 128, 0.95%, 0.6%

LAB 86.89, -77.59, 65.06

 

CMYK 68 / 78 / 0 / 2

HEX #5137FA

RGB 81 55 250

HSL 248, 0.95%, 0.6%

LAB 40.22, 64.74, -91.79

 

CMYK 0 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

CMYK 26 / 0 / 78 / 2

HEX #B9FA37

RGB 185 250 55

HSL 80, 0.95%, 0.6%

LAB 91.22, -45.78, 79.4

 

CMYK 78 / 10 / 0 / 2

HEX #37E0FA

RGB 55 224 250

HSL 188, 0.95%, 0.6%

LAB 82.39, -33.01, -24.65

 

CMYK 52 / 78 / 0 / 2

HEX #7837FA

RGB 120 55 250

HSL 260, 0.95%, 0.6%

LAB 43.69, 68.79, -85.94

 

CMYK 0 / 67 / 78 / 2

HEX #FB5336

RGB 251 83 54

HSL 8.83, 0.96%, 0.6%

LAB 58.94, 62.43, 51.45

 

CMYK 50 / 0 / 78 / 2

HEX #7EFA37

RGB 126 250 55

HSL 98.15, 0.95%, 0.6%

LAB 88.49, -65.12, 75.88

 

CMYK 78 / 10 / 0 / 2

HEX #37E0FA

RGB 55 224 250

HSL 188, 0.95%, 0.6%

LAB 82.39, -33.01, -24.65

 

CMYK 28 / 78 / 0 / 2

HEX #B337FA

RGB 179 55 250

HSL 278.15, 0.95%, 0.6%

LAB 50.94, 77.24, -73.79

 

Description

Color code: RGB 251 83 54 | qconv.com Color code: RGB 251 83 54 | 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, 251 red, 83 green and 54 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 83 54 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, 67 magenta, 78 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% 67% 78% 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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