1. WHERE TO START? Dream in color, starting in a smaller space such as a Bathroom, Hallway, or Accent Wall. Begin where you are most comfortable. Select a favorite color, drawn from artwork, rug, china, accessory or furniture, as main color or accent.
2. THINK MOOD Listen to the space Choose your color according to the purpose of the space, for example: Bedroom: restful, soothing, dramatic or intimateDining area: sociable, stimulatingLibrary/study: quiet, peaceful concentration 3. HOW ABOUT A COMPLEMENT? Make sure it has value Check out a color wheel, and enhance your main color choice with contrast in color and value: Complementary, Split, or Triad…Light, Mid-tone, Deep… “pure color” or toned in a shade or tint.
4. MONOCHROMATIC, MAYBE? Emphasize the architecture Achieve bold or subtle variations within one color group. Contrast use of paint finishes to make an elegant statement. For example: use closely related colors, or even a single color in different finishes, for walls and trim—and maybe even the ceiling.
5. MAKE WHITE the ACCENT COLOR Create variety with elegant neutrals as the main color. 6. LOOKING UP, TINT YOUR CEILING! Add drama with a stronger color, or make the ceiling the same color as the walls, for the feeling of a more expansive space.
7. TESTING, 1…2…3… TRY SOMETHING DIFFERENT Consider strong colors or soft, deep earthy hues like chocolate brown or olive green as main or accent colors. Be sure to test colors on primed poster board or large areas of actual wall.
8. What’s MISSING? Add depth of color Flat, dull walls become interesting and personal with subtle or dramatic “Visual Texture” and “Broken Color.” Burnished mineral/metal finishes and colored glazes add depth and interest. For example: Mica, Copper, Pewter, Bronze, and of course Silver and Gold. Venetian Plaster is a beautiful option.
9. STILL WONDERING? Review your comfort zone and expand it, taking note of your response to your favorite colors.
10. AVOID CONFUSION Keep others’ opinions to a minimum. REMEMBER, It’s YOUR home! Note: image courtesy of Farrow & Ball Paints. Shown: Try Farrow & Ball’s Rare Earth 64, in a kitchen.
What I call “Supportive color design”—meaning, using color to really help create the desired results—does not have to be boring. In fact, part of the “function” in the functional-color-focus of supportive color design will vary depending on the location and goals.
It’s the word that skews the imagination. We’re aware that language, and words in particular, can really create an impression that precedes the experience. Paint color names are just on example, setting the mental stage for what to expect. Flowers, food, travel, history…just a few of the kinds of associations that come with paint color names and other types of marketing.
The phrase “functional color” sounds so Dry. In reality and practice, however, the function of a space or place in general is the key to creating color palettes for paint and other materials that will help achieve the goals of the homeowner, architect, business owners.
It’s actually a very exciting process regardless of the size of the project.
For example, the goal might be to create an environment that facilities study, quiet time, communication, comfort and security, celebration, relaxation, or energizing. In a workplace or business maybe it’s communicating elegance, authority, delicious food, efficiency, safety.
Health care spaces have their own concerns, the function being to create surroundings that will help with healing and create a comfortable and welcoming, ‘supportive” surrounding for visitors.
Locations specializing in care for elders have their own unique set of additional concerns about how we are affected by colors as we age, and about designing spaces that focus on the needs of the particular people using the space—whether they are residents or visitors.
It’s always easiest to generalize about color use, like: “Blue is relaxing, Red is stimulating. ” In a sense that’s true but the larger picture is to examine the specific goals, and architectural configuration of any space, to arrive at the choices of the best colors to apply in each material used, and how they will be used together.
That’s where the FUN of color design really enters in.
Orthodontist's office. What an enjoyable project to be involved with. All color and materials selections, and the design of reception desk, by Barbara Jacobs
Orthodontist's office-partial view. Custom Desk Design by Barbara Jacobs.
Orthodontist's office - reception desk detail
New construction allows for the most creativity. I’d call that “Fun” also. But what we did in this orthodontist’s office, that I enjoyed being part of, were all the elements.
This included design of the reception desk, paint colors, carpeting and lighting selections, and furniture selections.
The unique reception desk was challenging and exciting at the same time. Selecting the laminate colors for all the surfaces, and implenting the colors in the 3-d design, was a tactile, visual, and spatial experience.
A bit of creative “whimsy” was intended, yet wanting to be far from a childish space since the orthodontic patients are of all ages. From the shapes to the color use, the enironment is one that welcomes vistitors with a smile, and that feeling of “welcoming confidence” carries throughout the other areas.
Not all the spaces in this office are as whimsical as this area…some are of course more serious and focused, as they should be, while providing a space where patients of all ages can be comfortable.
I look forward to addressing the effects, “meanings,” and the use of specific colors in future posts.
Q: Homeowners: Are you about to make decisions about paint color?
Q: Builders and Painters: Are you about to recommend paint colors for a client?
Q: What are the best ways you can make high quality color test samples to help you make your color recommendations and decisions?
Are you a homeowner who is overwhelmed by the thousands of color choices available? If so, you’re not alone! In fact, even building professionals, who have been asked a thousand times “how will it look?” can sometimes feel like there are just too many colors out there to sort through to provide clients with something unique yet suitable. Either way, how much time and diligence do you have, to test a lot of color swatches and come up with the very best answer?
You can start with getting the largest possible print color sheets from your paint manufacturer. Set them up outside and have a look at the differences, even before you start actual paint testing.
For example, this group of colors from Sherwin Williams, as viewed outside in bright Northern California sunlight.
Whether you are doing this yourself or perhaps even suggesting that your client do it and let you know what they want to use (and some people will actually want to do this), I’d like to share a few tips that you can recommend, or even use yourself if they are new to you. It’s not “rocket science,” we all know that. But as with many things that seem simple and yet become overwhelming, there are proven methods to help.
Above: New colors for an HOA complex in Cambridge, MA.
To keep it simple, I recommend starting with the premise that color looks different in all types of lighting and of course throughout the day—and evening—on different surfaces. Color changes in corners, also, as it intensifies where two walls of the same color meet, and it changes in other ways depending on the actual lighting and also when two walls or surfaces (ie: wall and ceiling) of differing colors meet. It’s the angle that does it – whether the typical 90 degrees or something else, as in a vaulted ceiling, and the reflection of light causes the colors to affect each other.
Therefore, the following apply: 1. Make the paint test on a moveable and repositionable surface. Something that can be affixed temporarily to any wall, ceiling, or even floor (when you are painting a floor).
Note: do not use your blue tape on the edges of this! Tape the back side only.
2. Make the colored surfaces in proportion to each other, for example: Trim colors will usually be narrower than the wall or siding color surfaces.
3. Be sure the surface you paint the test on is primed, or at least under-painted with a color similar to what you’re testing. For example, you can of course use poster board but since it’s paper, it must be oil-primed so it does not warp. Personally I like the flat-finish, fast drying low odor products for this.
Note to professionals: I’ve typically prepared up to 20 or so poster boards with this type of oil primer, to have ready to go in advance–and easy to use at a moment’s notice–when preparing color tests for clients.
4. Roll on 2 coats of your finish (test) color, making the application as close to what you intend to do on the final surface. Use a roller or brush similar to what you plan to use on the job.
5. Use a stable surface with a texture similar to the wall or surface to be painted. IF the target surface is textured, it’s worth it to make a replica since color reacts so differently with the light falling on textured or smooth surfaces.
6. Be sure to do the test with the same finish you’ll be using on the actual surface (Flat? Eggshell? Semi-or-high-gloss?)
7. Label your sample cards.
8. Size: even if you have to create a few boards to make up each test color, try to end up with at least 4 square feet of new color. You can configure it in any way that they fit for your house view.
9. Paint an area about five feet square (minimum) of white, right on the house, so that when you test your new color boards you are not influenced by the existing house color. If this is not possible, hang up a white sheet on the side of the house (Pin, or even staple it to the siding) and put your test color boards on that. BE sure to include your new or existing trim color in this method.
OK, so what about materials? I mentioned using wood, (smooth and primed, of course), poster board and foam core (oil prime first), and you can use other substrates like gator board, or drywall (also prime).
Interior or exterior, the same process applies. For exterior work you might want to have some siding pieces available that are at least very similar to the house, if not the exact same thing. Doing more than just one “strip” (minimum 4 to 6 strips high, of clapboard style) will give a more accurate view of what the shadows will do at various times of day. Remember to make trim samples also, in the same widths as the actual trim and casings or other details.
Placement is important – try to place your siding strips next to the window or door casings, for the most accurate view of the colors and how they relate to each other.
So, you might ask, why go to all this trouble, anyway? The main reason is: Minimize confusion, and make the color choices easy. Stripes and color patches on the walls – and that includes exteriors – look messy and are visually confusing. You can’t see the specified colors next to each other on a large enough surface because there is just too much going on and the existing colors will inform the appearance of the tested colors.
To illustrate…
Instead of painting one or more “new” colors right on the house body, be sure to put the test colors on a moveable surface as described. It’s confusing to test multiple colors on the same surface (Note in this picture the blue is above, yellow is existing, and the brown is another test color.
Narrow strips for testing trim and detail colors should be placed right where they will be used.
Narrow strips are proportionate in size to the overall area when testing detail trim colors.
