#B750FA

sRGB · 183 / 80 / 250

#B750FA belongs to the violet family. Its hex code tells a screen to mix 183 red, 80 green and 250 blue on a scale of 0 to 255. On the HSL wheel, hue is a position around a circle: 276.4° lands in the violet region. Its 94.4% saturation makes it strong in color at this lightness. HSL lightness is 64.7% on a scale from black (0%) to white (100%). Of black and white lettering, black has the clearer light-to-dark separation on this background (5.54:1), which helps the shapes of letters stand out.

Color conversions

sRGB (8-bit): 183, 80, 250
HSL: 276.35°, 94.44%, 64.71%
HSV / HSB: 276.35°, 68.00%, 98.04%
CMYK (approx.): 26.80%, 68.00%, 0.00%, 1.96%
CIE XYZ (D65, Y = 100 for white): 39.650, 22.708, 92.740
CIELAB (D65, 2° observer): 54.770, 68.558, -67.553
WCAG relative luminance: 0.22707
24-bit decimal: 12013818

CMYK uses a profile-free approximation. Printed output depends on the press, ink and paper. Lab uses a D65 white point.

Text contrast

Contrast tells you how clearly lettering separates from #B750FA in light and dark. The ratio compares relative luminance, a measure of light weighted for human vision. Identical colors give 1:1 and black against white gives 21:1. A ratio of 2.99:1 falls just below the 3:1 AA minimum for large text. Body text needs at least 4.5:1 because its finer strokes are harder to distinguish.

Black text · 5.54:1

Normal text: AA
Large text: AAA

White text · 3.79:1

Normal text: Fail
Large text: AA

AA and AAA are WCAG accessibility levels. AAA sets a higher bar: 7:1 for normal text and 4.5:1 for large text. Large text begins at 18 pt regular or 14 pt bold. Ratings use the unrounded ratio. WCAG text contrast guidance

Palettes & scales

Harmonies rotate the hue. Scales mix the starting color with white, black or middle gray in 20% steps in encoded sRGB.

Complementary

#93FA50 sits half a turn (180°) from #B750FA on the HSL wheel. Keeping saturation and lightness steady while crossing to the opposite hue gives you a contrasting accent. Check text contrast separately before using the pair for lettering.

#B750FA #93FA50

Analogous

#6250FA and #FA50E8 sit 30° to either side of #B750FA. The three hues are neighbors on the wheel, so you can change the color of a border or highlight while keeping it close to the original.

#6250FA #B750FA #FA50E8

Triadic

#B750FA, #FAB750 and #50FAB7 are spaced 120° apart, forming a triangle on the wheel. Try one for the main color and the other two for accents.

#B750FA #FAB750 #50FAB7

Split complementary

Start at #B750FA and look across the wheel. #E8FA50 and #50FA62 sit 30° to either side of its exact opposite, giving you two different accent choices.

#B750FA #E8FA50 #50FA62

Square

Starting with #B750FA, each quarter turn (90°) takes you to the next hue: #FA6250, #93FA50, then #50E8FA. Across the square, #B750FA pairs with #93FA50, and #FA6250 with #50E8FA.

#B750FA #FA6250 #93FA50 #50E8FA

Tetradic

#B750FA and #93FA50 are opposites, as are #FA5093 and #50FAB7. Together they form a rectangle on the wheel, with alternating gaps of 60° and 120°.

#B750FA #FA5093 #93FA50 #50FAB7

Tints

Mixing #B750FA with white in 20% steps produces this scale. The first mixture, #C573FB, keeps 80% of the original. By #F1DCFE, the mixture is 80% white.

#B750FA #C573FB #D496FC #E2B9FD #F1DCFE #FFFFFF

Shades

Mixing #B750FA with black in 20% steps produces this scale. The first mixture, #9240C8, keeps 80% of the original. By #251032, the mixture is 80% black.

#B750FA #9240C8 #6E3096 #492064 #251032 #000000

Tones

Mixing #B750FA with middle gray in 20% steps produces this scale. The first mixture, #AC5AE2, keeps 80% of the original. By #8B7698, the mixture is 80% middle gray.

#B750FA #AC5AE2 #A163C9 #966DB1 #8B7698 #808080

Copy color codes

Hex, RGB and HSL are three ways to write this screen color. Paste any of them into a CSS color property.

Hex

#B750FA

RGB

rgb(183 80 250)

HSL

hsl(276.353 94.444% 64.706%)

CSS example

.color-sample {
  background-color: #B750FA;
  color: #000000;
}

Channel breakdown

RGB

#B750FA uses 183 red, 80 green and 250 blue. Each bar shows how much of that channel’s 0–255 range the screen uses.

Red 71.8%

Green 31.4%

Blue 98.0%

CMYK

A simple CMYK estimate for #B750FA is 26.8% cyan, 68.0% magenta, 0.0% yellow and 2.0% black. These are ink amounts; a printer profile is needed to predict the result on paper.

Cyan 26.8%

Magenta 68.0%

Yellow 0.0%

Black 2.0%

Nearby colors

The nearest shorthand match is #BB55FF. Its matching digit pairs let you write it as #B5F in CSS. For a modern design, keep #B750FA when you want an exact match. Use its web-safe neighbor, #CC66FF, when matching a legacy palette of 216 colors.

Nearest shorthand · #BB55FF Nearest web-safe · #CC66FF

Gradient to complement

#B750FA #B16CDE #AB89C1 #A5A5A5 #9FC189 #99DE6C #93FA50

Color vision previews

Compare how #B750FA appears in each simulation. When two chart lines or status indicators become hard to tell apart, a label, shape or line pattern gives readers another way to distinguish them. Individual perception varies.

Protanopia

A red–green color vision deficiency. Without a distinct response from long-wavelength cones, some reds and greens can look alike, and reds can appear darker.

#007FFF

Deuteranopia

A red–green color vision deficiency. Without a distinct response from medium-wavelength cones, some greens can be difficult to distinguish from reds or browns.

#2C84F6

Tritanopia

A blue–yellow color vision deficiency. Without a distinct response from short-wavelength cones, blue can resemble green, and yellow can resemble pink.

#AD759F

Protanomaly (50%)

An altered long-wavelength cone response can make reds appear dimmer and harder to distinguish from greens. This swatch shows the model’s halfway setting.

#6873FC

Deuteranomaly (50%)

An altered medium-wavelength cone response can reduce the visible difference between reds and greens. This swatch shows the model’s halfway setting.

#6F77F8

Tritanomaly (50%)

An altered short-wavelength cone response can make blue harder to distinguish from green. This swatch shows the model’s halfway setting.

#B161DF

Grayscale (luminance)

This design check removes hue and preserves relative luminance so you can compare light and dark areas.

#838383

Partial grayscale (50% blend)

This design check mixes the original color halfway toward its grayscale equivalent in linear light. Use it to see how a design holds up as color fades.

#A06DCA

Technical reference

CAM16 and CIECAM02 below assume D65 white, an average surround, background Y of 20 against white at 100, and adapting luminance of 4.07 cd/m².

Linear sRGB

These channels scale with emitted light. Use them for lighting calculations and physically meaningful blends.

R 0.47353 G 0.08022 B 0.95597

Display P3

P3 displays can reproduce a wider range of reds and greens. These coordinates reproduce this same sRGB swatch on a color-managed P3 display.

R 0.66796 G 0.33763 B 0.94732

Linear Display P3

These P3 channels are proportional to light, before display encoding.

R 0.40370 G 0.09328 B 0.88433

CIE xyY

The x and y coordinates locate chromaticity on a diagram. Y gives relative luminance on a scale where white is 100.

x 0.256 y 0.146 Y 22.708

CMY

Ideal cyan, magenta and yellow are the complements of the encoded red, green and blue channels.

C % 28.235 M % 68.627 Y % 1.961

Binary RGB

Each eight-bit group represents one channel. Together they store the 24-bit hex color.

10110111 01010000 11111010