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Stout color service

Match webbing color to your fabric

Pick your fabric color in the system you know — Stout, RAL, Pantone or FS‑595 — or set it with the color picker. We'll show webbing colors that pair harmoniously with your material. Curious how the matching works? — read the theory.

Step 1

Your fabric color

Choose your fabric color above and pairing options will appear here.
About color accuracy. This page gives a theoretical calculation based on color coordinates. Screens render colors approximately, and some shades may lie outside the gamut achievable with the available dyes. Whether a specific color can be dyed is confirmed by our lab: contact our office — taking into account the fabric, substrate material and gloss, we will tell you precisely whether the shade is reproducible, and prepare a lab dyeing if needed.
PANTONE® is a registered trademark of Pantone LLC; RAL® of RAL gGmbH. Stout Textile is not affiliated with these companies and does not claim equivalence of its colors to the standards of these systems. Colors on this page are on-screen approximations for reference, not official standards: for color-critical decisions, consult a current physical guide of the respective system.
Next step

Like the pairing?

Send us your chosen option — we'll confirm dyeing feasibility and quote your order.

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Theory

How this matching works

Three dimensions of color

To the eye, color is a single sensation; to a colorist it is three independent values: hue (the position on the color wheel: red, olive, blue…), lightness (how dark or light the color is) and chroma (how pure or muted it is). In colorimetry these axes are described by CIELAB — the international standard our spectrophotometer and dye lab work in. Every color on this page is a point with coordinates in that space.

The principle of harmony

The classics of color theory — from Johannes Itten to Albert Munsell — formulated a rule that practice confirms well: two colors work together when there is order between them. Simply put, colors should match on at least one of the three axes while contrasting on another. Webbing in a different hue but with the same lightness and chroma as the fabric looks like it came “from the same collection”. When colors differ on all three dimensions at once and both are saturated, the eye has nothing to hold on to and the pairing feels accidental.

The five schemes on this page

Tone on tone — same hue, different depth. The calmest, most universal pairing.
Adjacent hues — a ~30° shift around the color wheel with the depth preserved. Different yet related colors.
Soft contrast — the opposite hue (180°) with deliberately reduced chroma: the contrast reads clearly without “ringing”.
Bold contrast — neighbors of the opposite hue (±150°), a softer alternative to the direct complement.
Neutral companion — a grey at your fabric's lightness: it doesn't compete with the base color, it underlines it.

Why muted colors get along with almost everything

The lower the chroma, the less colors conflict with each other. That's why earthy and tactical palettes — coyote, olive, grey-blues — look harmonious in almost any combination: they all share low chroma. Vivid colors demand a more precise balance — which is exactly where the calculation helps.

A tip on proportions

In a finished product the 60–30–10 rule applies: the main color (fabric) takes ~60–80% of the area, the second (webbing) 20–30%, the accent (hardware, stitching) up to 10%. A contrasting pair that looks harsh at equal areas becomes striking at 80/20.

From the screen to the dye bath

The page's calculation yields target color coordinates. Then our work begins: a dye recipe for the specific fiber, a lab dyeing and instrumental control on a spectrophotometer — we measure the difference between standard and sample as ΔE, just as for every color of our palette.

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