#EA2011

sRGB: 234 / 32 / 17

#EA2011 belongs to the red family. Its hex code tells a screen to mix 234 red, 32 green and 17 blue on a scale of 0 to 255. On the HSL wheel, hue is a position around a circle: 4.1° lands in the red region. Its 86.5% saturation makes it strong in color at this lightness. HSL lightness is 49.2% 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 (4.71:1), which helps the shapes of letters stand out.

Color conversions

sRGB (8-bit): 234, 32, 17
HSL: 4.15°, 86.45%, 49.22%
HSV / HSB: 4.15°, 92.74%, 91.76%
CMYK (approx.): 0.00%, 86.32%, 92.74%, 8.24%
CIE XYZ (D65, Y = 100 for white): 34.549, 18.569, 2.295
CIELAB (D65, 2° observer): 50.179, 71.581, 58.856
WCAG relative luminance: 0.18566
24-bit decimal: 15343633

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 #EA2011 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: 4.71:1

Normal text: AA
Large text: AAA

White text: 4.46:1

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.

Reference: 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

#11DBEA sits half a turn (180°) from #EA2011 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.

#EA2011 #11DBEA

Analogous

#EA116F and #EA8C11 sit 30° to either side of #EA2011. 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.

#EA116F #EA2011 #EA8C11

Triadic

#EA2011, #11EA20 and #2011EA are spaced 120° apart, forming a triangle on the wheel. Try one for the main color and the other two for accents.

#EA2011 #11EA20 #2011EA

Split complementary

Start at #EA2011 and look across the wheel. #11EA8C and #116FEA sit 30° to either side of its exact opposite, giving you two different accent choices.

#EA2011 #11EA8C #116FEA

Square

Starting with #EA2011, each quarter turn (90°) takes you to the next hue: #6EEA11, #11DBEA, then #8C11EA. Across the square, #EA2011 pairs with #11DBEA, and #6EEA11 with #8C11EA.

#EA2011 #6EEA11 #11DBEA #8C11EA

Tetradic

#EA2011 and #11DBEA are opposites, as are #DBEA11 and #2011EA. Together they form a rectangle on the wheel, with alternating gaps of 60° and 120°.

#EA2011 #DBEA11 #11DBEA #2011EA

Tints

Mixing #EA2011 with white in 20% steps produces this scale. The first mixture, #EE4D41, keeps 80% of the original. By #FBD2CF, the mixture is 80% white.

#EA2011 #EE4D41 #F27970 #F7A6A0 #FBD2CF #FFFFFF

Shades

Mixing #EA2011 with black in 20% steps produces this scale. The first mixture, #BB1A0E, keeps 80% of the original. By #2F0603, the mixture is 80% black.

#EA2011 #BB1A0E #8C130A #5E0D07 #2F0603 #000000

Tones

Mixing #EA2011 with middle gray in 20% steps produces this scale. The first mixture, #D53327, keeps 80% of the original. By #956D6A, the mixture is 80% middle gray.

#EA2011 #D53327 #C0463D #AA5A54 #956D6A #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

#EA2011

RGB

rgb(234 32 17)

HSL

hsl(4.147 86.454% 49.216%)

CSS example

.color-sample {
  background-color: #EA2011;
  color: #000000;
}

Channel breakdown

RGB

#EA2011 uses 234 red, 32 green and 17 blue. Each bar shows how much of that channel’s 0–255 range the screen uses.

Red 91.8%

Green 12.5%

Blue 6.7%

CMYK

A simple CMYK estimate for #EA2011 is 0.0% cyan, 86.3% magenta, 92.7% yellow and 8.2% black. These are ink amounts; a printer profile is needed to predict the result on paper.

Cyan 0.0%

Magenta 86.3%

Yellow 92.7%

Black 8.2%

Nearby colors

The nearest shorthand match is #EE2211. Its matching digit pairs let you write it as #E21 in CSS. For a modern design, keep #EA2011 when you want an exact match. Use its web-safe neighbor, #FF3300, when matching a legacy palette of 216 colors.

Nearest shorthand: #EE2211 Nearest web-safe: #FF3300

Gradient to complement

#EA2011 #C63F35 #A25E59 #7E7E7E #599DA2 #35BCC6 #11DBEA

Color vision previews

Compare how #EA2011 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.

#685C07

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.

#988700

Tritanopia

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

#FF0021

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.

#A75400

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.

#B47000

Tritanomaly (50%)

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

#EC181E

Grayscale (luminance)

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

#777777

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.

#BC5957

Reference: National Eye Institute: Types of Color Vision Deficiency

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 0.82279 G 0.01444 B 0.00561

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 0.84299 G 0.22455 B 0.15258

Linear Display P3

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

R 0.67927 G 0.04128 B 0.02020

CIE xyY

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

x 0.623 y 0.335 Y 18.569

CMY

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

C % 8.235 M % 87.451 Y % 93.333

Binary RGB

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

11101010 00100000 00010001