#F2C19E

sRGB: 242 / 193 / 158

#F2C19E belongs to the orange family. Its hex code tells a screen to mix 242 red, 193 green and 158 blue on a scale of 0 to 255. On the HSL wheel, hue is a position around a circle: 25.0° lands in the orange region. Its 76.4% saturation makes it strong in color at this lightness. HSL lightness is 78.4% 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 (12.90:1), which helps the shapes of letters stand out.

Color conversions

sRGB (8-bit): 242, 193, 158
HSL: 25.00°, 76.36%, 78.43%
HSV / HSB: 25.00°, 34.71%, 94.90%
CMYK (approx.): 0.00%, 20.25%, 34.71%, 5.10%
CIE XYZ (D65, Y = 100 for white): 61.857, 59.487, 40.573
CIELAB (D65, 2° observer): 81.559, 12.789, 24.294
WCAG relative luminance: 0.59486
24-bit decimal: 15909278

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 #F2C19E 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: 12.90:1

Normal text: AAA
Large text: AAA

White text: 1.63:1

Normal text: Fail
Large text: Fail

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

#9ECFF2 sits half a turn (180°) from #F2C19E 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.

#F2C19E #9ECFF2

Analogous

#F29EA5 and #F2EB9E sit 30° to either side of #F2C19E. 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.

#F29EA5 #F2C19E #F2EB9E

Triadic

#F2C19E, #9EF2C1 and #C19EF2 are spaced 120° apart, forming a triangle on the wheel. Try one for the main color and the other two for accents.

#F2C19E #9EF2C1 #C19EF2

Split complementary

Start at #F2C19E and look across the wheel. #9EF2EB and #9EA5F2 sit 30° to either side of its exact opposite, giving you two different accent choices.

#F2C19E #9EF2EB #9EA5F2

Square

Starting with #F2C19E, each quarter turn (90°) takes you to the next hue: #A5F29E, #9ECFF2, then #EB9EF2. Across the square, #F2C19E pairs with #9ECFF2, and #A5F29E with #EB9EF2.

#F2C19E #A5F29E #9ECFF2 #EB9EF2

Tetradic

#F2C19E and #9ECFF2 are opposites, as are #CFF29E and #C19EF2. Together they form a rectangle on the wheel, with alternating gaps of 60° and 120°.

#F2C19E #CFF29E #9ECFF2 #C19EF2

Tints

Mixing #F2C19E with white in 20% steps produces this scale. The first mixture, #F5CDB1, keeps 80% of the original. By #FCF3EC, the mixture is 80% white.

#F2C19E #F5CDB1 #F7DAC5 #FAE6D8 #FCF3EC #FFFFFF

Shades

Mixing #F2C19E with black in 20% steps produces this scale. The first mixture, #C29A7E, keeps 80% of the original. By #302720, the mixture is 80% black.

#F2C19E #C29A7E #91745F #614D3F #302720 #000000

Tones

Mixing #F2C19E with middle gray in 20% steps produces this scale. The first mixture, #DBB498, keeps 80% of the original. By #978D86, the mixture is 80% middle gray.

#F2C19E #DBB498 #C4A792 #AE9A8C #978D86 #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

#F2C19E

RGB

rgb(242 193 158)

HSL

hsl(25.000 76.364% 78.431%)

CSS example

.color-sample {
  background-color: #F2C19E;
  color: #000000;
}

Channel breakdown

RGB

#F2C19E uses 242 red, 193 green and 158 blue. Each bar shows how much of that channel’s 0–255 range the screen uses.

Red 94.9%

Green 75.7%

Blue 62.0%

CMYK

A simple CMYK estimate for #F2C19E is 0.0% cyan, 20.2% magenta, 34.7% yellow and 5.1% black. These are ink amounts; a printer profile is needed to predict the result on paper.

Cyan 0.0%

Magenta 20.2%

Yellow 34.7%

Black 5.1%

Nearby colors

The nearest shorthand match is #EEBB99. Its matching digit pairs let you write it as #EB9 in CSS. For a modern design, keep #F2C19E when you want an exact match. Use its web-safe neighbor, #FFCC99, when matching a legacy palette of 216 colors.

Nearest shorthand: #EEBB99 Nearest web-safe: #FFCC99

Gradient to complement

#F2C19E #E4C3AC #D6C6BA #C8C8C8 #BACAD6 #ACCDE4 #9ECFF2

Color vision previews

Compare how #F2C19E 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.

#CFC49C

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.

#DBCF9E

Tritanopia

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

#FFB8B8

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.

#DDC49C

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.

#E2CA9E

Tritanomaly (50%)

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

#F4BFA8

Grayscale (luminance)

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

#CBCBCB

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.

#DFC6B6

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 0.88792 G 0.53328 B 0.34191

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 0.91872 G 0.76428 B 0.63830

Linear Display P3

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

R 0.82496 G 0.54505 B 0.36510

CIE xyY

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

x 0.382 y 0.367 Y 59.487

CMY

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

C % 5.098 M % 24.314 Y % 38.039

Binary RGB

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

11110010 11000001 10011110