We all love the qualities and experience of Light, Bright, Spacious…but what about the almost-forgotten Deep, Dark, and Delicious.
One comparison… Just for a comparison, let’s start with this off-white room, “before” color and artwork is added. (To be clear, I have masked the artwork in this image, you will see it in the next one).
I personally believe that the same space with deep color is not feeling closed in, but warm and comforting—even with the cooler wall color.
There’s a lot to be said for the idea of using darker colors, even if it’s less “popular” and often creates aversion to what the words seem to imply. It requires a slight change of mindset, and a close look at the details of your space.
So, to start, let’s consider these…
A warm “nest”whether large or small
Sanctuary space
Cozy retreat
Meditative
Mask surface flaws
Use darker colors as accent features
Does not have to be the entire space
Less ‘visual noise’
Glamorous
Make artwork a focus
Sophisticated
Corporate lobby or other specific areas (consdering the use, of course)
Unusual
Romantic
Now, think about the colors that could so beautifully satisfy those needs, both physical and aesthetic.
You will see some are “almost-black,” and others have distinct other color attributes. Just remember that screen colors may differ a bit from actual paint.
What is the Down Side of using Deep Colors for Interiors?
How about when “Down” becomes “Up?” It can happen. Every color has its strengths, and possible detriments also. With dark colors there are a few important considerations for both physical space and your emotional responses.
Consider your personal preferences “Cozy” can become “Closed In,” so consider the scope of your own personal preferences.
Size and existing lighting of the space
How much time will you occupy the space
What time of day will you typically use the space
Architectural detail in the space Consider appealing ways to use dark colors and still highlight interesting detail like classical moldings. For example:
Flat or Matte wall finishes look softer and more elegant
Use a satin or even semi-gloss finish of the same darker color on architectural trim, moldings, and doors.
Or use a slightly lighter color on these accent areas.
Do not forget the floor! Wood, Carpet, or other materials…lighter floors can create an interesting balance to dark walls.
Lighting Careful testing and selection of lighting is extra important. You might want “more” lighting sources in a darker space. At least, consider lighting color, for example the difference between these 2 examples:
LED lighting tends to be cooler–like daylight
Incandescent lighting will be warmer–like candle light
Do you want to use ambient / overall lighting?
Or focused lighting, like chair-side, desktop, or bedside lamps
Specific wall washer detailed lighting for artwork
Furnishings and Artwork Deeper colors offer a good opportunity to consider actual styles and colors of furnishings and artwork.
Stronger colors and shapes will have more presence in a darker-colored space
Bolder art pieces can provide excellent focal points and help create the vision you want to enjoy.
Getting it Right with Beautiful Brights “Neutral” style color palettes are beautiful. No doubt about it. Soothing, practical, safe…”buyers love it,” and of course easy to furnish around. But here’s a thought: think of it as “food.” To be clear, I am not advocating a chaos of wildly colorful environments that you can’t live in or with. In fact, bright colors definitely have a place in sophisticated interiors.
Now that we have that bit out of the way, I wanted to share my more detailed thoughts about feeling confident and free in experimenting in finding the very best colors that you Will love to live In–and With.
The extensive collections I’ve created to show on Samplize.com include a variety of selected hues from all color families. Current collections you can get samples for right now include various Historic palettes in light, medium, and dark colors (use them for any house period), bedroom, and more. The featured colors are all from either Benjamin Moore, Sherwin Williams, or Farrow & Ball. You might find, at a glance, that some colors seem similar. But, when you see the actual samples on various areas of the walls and ceilings, in different lighting times of day and evening, natural or artificial light sources, you will notice the differences.
Flavor and Nuance As with cuisine, nuance of seasoning is important to the best results. Sometimes we need a spot of bright energy in our world. At the risk of sounding trite, we could even call it a bit of “happiness.” Take this idea into our interiors and even exteriors. While the important “soft and neutral” colors can create beautiful environments, there’s also a place for using some stronger—even darker—color. Whether our color decisions come from habitual personal preference or a stylistic trend, considering stronger colors can also be a happy surprise. You can see many beautiful examples of some strong, deeper hues, included in the other collections.
But for this specific group, think of the colors of foods, for example…winter squashes and pumpkins, tomatoes, eggplants, and of course all the greens. Then look at the brighter colors in nature—flowers, water, and more. Incorporating some of these colors, even in smaller amounts, can create more flavor and nuance in an already beautiful, harmonious neutral style menu of color.
For example, have you ever considered a pink – and – red living room? It may not be your “cup of tea” but I love this example from Farrow & Ball!
Exterior settings can also enjoy…something a bit different.
] 6 families were involved in confirming the above color scheme. They asked for something Bold, and Different. (photo by Barbara Jacobs)
A more conservative exterior for this Victorian era home, that still enjoys a bit of Punch… (photo by Barbara Jacobs) The client reports this…
I lived with a drab house for close to 15 years. When it came time to paint my modest three-story Victorian I wanted something that popped. I called Barbara on the advice of a friend and immediately realized that she could see beyond color chips.
She considered the shape of the house, the number of windows, the colors and condition of the existing foundation and roof. She even considered the neighbor’s house. Things that weren’t on my radar. Barbara offered a color scheme I could dial up or down for drama or detail and when we were in the midst of painting and I had a quick question, she responded immediately. Read more…6th row down the page, right side!
You might enjoy being completely enveloped in the energy of stronger, brighter colors; or you might enjoy them more when you include them as accents, trim, or special elements.
An example of unusual color in a bedroom…also consider elements like bookshelves, lighting fixtures, and artwork! Check out this color combination on a color wheel. (photo and square artwork by Barbara Jacobs / oil painting diptych by William Saltzman)
A strong Yellow-Green is not a typical color, but this is a beautiful example. Also from Farrow & Ball.
Getting comfortable with ‘discomfort’ Personally, I love combining colors that are a bit “out of my comfort zone,” for the sake of a color adventure–trying new ideas for inspiration. In any case, I encourage you to consider some of these that cross multiple spectral hues. Because the painted sample cards from my collections on Samplize are repositionable, you can easily stick them up on any wall position along with your other selections.
The extensive collections I’ve created to show on Samplize include a variety of selected hues from all color families. Current collections you can get samples for right now include various Historic palettes in light, medium, and dark colors (use them for any house period), bedroom, and more. The featured colors are all from either Benjamin Moore, Sherwin Williams, or Farrow & Ball. You might find, at a glance, that some colors seem similar. But, when you see the actual samples on various areas of the walls and ceilings, in different lighting times of day and evening, natural or artificial light sources, you will notice the differences.
Three final tips for now 1. Please to Not expect one paint company to accurately “match” a color from another paint company. It’s more reliable to just use the product that makes the paint color you want.
2. Always view the colors on the surfaces you want to paint them! We often look at paint colors on a table, for example…but the right direction to view is what makes all the difference! If we’re not painting the floor, don’t view colors in that direction.
3. Enjoy the adventure!
As a professional affiliate, I do receive a small commission—at no chage to you—when you purchase from Samplize.
Sound familiar?
We’re familiar with the ‘old song’ about the difficulties that can occur getting 2 people who share a home to agree on design decisions.
As pleased as I was to be asked to consult with the owners of a historic Boston co-op building, I was equally aware of the challenges in satisfying the requirements of a group of property-owners sharing a very real interest in the same building. The subject of my work for them was to create a new color palette for the lobby and vestibule of their 1924, “classic Old-Boston” building in the historic heart of Boston.
The Challenge
My first meeting with the property owners included at least one person representing each unit. After our introductions, we had a vibrant dialogue that consisted primarily of their expressing personal likes and dislikes. Starting with the existing bright yellow in both the vestibule and the lobby itself, opinions were effusive and diverse! “I Hate Yellow!” …”I’d Kill for Yellow!”
Original colors: Yellow Entry
Well, the fact is that the existing color Was yellow, in the lobby area as well as the entry vestibule. The dialogue continued, then, with a review of the purpose of my working with them and defining the goals. Having listened to–and Hearing–their concerns, I described the approach I would take to meet the goals.
The Process
Basically, it came down to “what is best for the building will be best for the group.” This is a good example of communicating when it’s necessary to leave the individuals’ strongest color preferences in their own interior spaces. As a core belief I hold for this kind of situation, it was my consistent emphasis at that time and throughout the entire extended process of the renovation.
During that first day, I selected a variety of colors to create an overall palette direction. I focused on a range of warm and cool “earth-tones” with a few accent colors as options to consider.
The points that were the focus of my approach in meeting their requests included:
Make the most of the beautiful, historic building.
Classic colors that suit the building. A palette that’s distinctive, not “ordinary,” yet one that’s comfortable and welcoming.
Focus on the architecture.
It’s often about moving beyond what is currently there, what we’re used to seeing. Change can be traumatic.
What’s the experience we, and others, have when coming into–and leaving–the building?
Respect for and reflection of the quality and style of the current panel murals. Not matching, but rather enhancing and supporting.
The Spaces
I was asked to consult about paint colors for “a lobby.” When I arrived at the site for our first meeting, I discovered something a bit more complex. Yes, it was actually two spaces–not one. But what a pair! The entry vestibule, and the actual lobby.
Here are the new colors you can compare with the original yellow, shown above.
Final colors: 2 Views in the vestibule, left and right sides.
Timing is important!
Because the color selections were just one part (but a critically important part!) of the process of the extensive renovation of the space, it was good to be brought in at the beginning of the process rather than right before the painters were to start. I visited the site throughout the construction process for color-plan reviews with the group’s point person. Sometimes 2 or 3 people met with me but that was a good thing to continue to communicate and confirm our direction and the ultimate selections.
After developing the main palette for the two spaces, which included a variety interesting, yet conservative, colors, they asked me to add an alternate palette they described as “bolder, brighter, and ‘cheerier’.” Remember, they are coming from …bright yellow.
Entry vestibule
Coming in from the street, the vestibule has some natural light–but of course being very dimly lit at night with limited light sources. Lots of an almost-pink color marble, a high ceiling, and beautiful black, wrought-iron crafted doors. Bright yellow walls!
Original colors: Entry – come up the stairs
The Lobby Area
A long, narrow rectangle – you enter on the long side. At each end of the room there’s an entrance to an individual condo. Each of the upper stories of the building has only one unit per floor. The walls are divided into sections, with moldings framing mural panels. The walls below the chair-rail molding are divided in the traditional manner with sectioned frame-style molding.
Original colors: Half of the lobby area.
Overhead fans with lights, and 2 table lamps make the yellow walls even more glaring.
The Murals
As it happened, and what came out in conversations, people had reactions to the murals that were as strong as their feelings about the current yellow wall color! Some of the owners even said they had never really liked the murals.
But most were wanting to keep them, so the questions became: How to select a color that will support the hues and tone of the mural panels, yet not have to “match” anything there?
Original colors: Mural wall – closeup
Near the murals, the space called for a particular color type.
The lower part of the wall had some other requirements because it was adjacent to the marble (same as vestibule) as baseboard, with a multicolored stone floor that had very different color indications.
Even though I intended to keep all the background wall colors very “neutral,” personally I thought that it could be interesting to pick up one or another of the mural colors in an accent…even a very thin pencil-outline around the mural frame, as if using a fillet in the mat and framing of artwork. I still think this would have been an interesting way to make the murals be more like individual fine art pieces, since they were each already framed as if they were individual paintings.
I was asked to consider a variety of decorative treatments that would have been completely appropriate to the space, the history, and the architecture, but budgetary considerations brought us back to the paint-only model. For this, even though I had many years of experience in these artistic applications, I would have brought in another professional to do that work.
The Floor
In any location the floor is usually a large portion of visible surface. Even with furniture in a room, it’s a big consideration in any space because, after all, it is at the base of what every other surface relates to in some way, either perpendicularly or in parallel.
Original wall colors – Granite tile floor.
One of the parties had a personal request to see something like a very pale pink on the walls with a grayish greenish white on the trim–or even perhaps a stronger color like “a soft orange, with a cream trim.” She mentioned it being difficult for some people to go from bright yellow to “gray,” so they wanted to see a brighter, more vivid, option. Having no problem with this request, I did present another palette that would also represent the goals for this space. Ultimately, they selected one of the original color combinations.
The Lighting
Knowing that there would be an entirely different lighting setup once the construction was done–yet working in a very yellow type of low-light situation during the entire paint specification process was interesting. It required quite a bit of imagination and awareness of the impact of lighting on how color will really ‘look’ in a particular area under different lighting conditions.
I had no real examples of the specified lighting, where I could refer to my actual painted color cards for a representation of my palette in the renovated space. I just knew somewhat the type and basic “color” of the specified lighting. It was helpful to consult with the lighting designer for this project, Doreen LeMay Madden of Lux Lighting Design, about what I might expect, in general, from the lighting plan she had created for this space.
Getting Married
All these elements that were not so noticeable at first glance, with the overpoweringly hued yellow walls and the inadequate lighting. But when you take away the distractions of the extreme yellow and the green rug, the marriage had to go forward into a future of the two spaces having compatible and complementary, harmonious existence!
Focus on detail of this multi-owner condo group, a typical type of structure: Triple-Decker in Boston
So you Want to Paint Your Home? First Step – test your colors!
Q: If you’re a homeowner… Are you about to make decisions about paint color?
Q: If you’re a builder or design professional… Are you about to recommend paint colors for a client?
Q: What are the best ways that you can… Make high quality color test samples to help you make your color recommendations and decisions?
You are Not Alone! Color Overwhelm is A Common Experience!
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?
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.
The approach is similar for interior and exterior color testing.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.
Test the color in the sheens you want to use.
Therefore, the following apply 1. Make the paint test on a moveable and reposition-able 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 to use a flat-finish, fast drying low odor product for this. You can also use one of the available professional quality paint testing surface products. “Mighty Boards” at 18″ x 24″ is the best, does not require any preparation –just paint them–and they have smaller sizes also.
Don’t paint your tests right on the wall.
Note to professionals I’ve typically prepared up to 20 or so poster boards with a fast drying, low odor, matte surface oil primer, to have ready to go in advance–and easy to use at a moment’s notice–when preparing color tests for clients.
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.
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.
Be sure to do the test with the same finish you’ll be using on the actual surface (Flat? Eggshell? Semi-or-high-gloss?)
Label your sample cards.
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.
For exterior color testing, paint an area about 5’x5’ 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.
Compare…
Image 4: Testing 2 colors right on a colored wall is confusing.
Using the white background: Can you tell which of the 2 colors in image 4 this one matches?
Using the white background with another test color: Can you tell which of the 2 colors in image 4 this one matches?
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.
Further Guidance
Block the other colors by hanging a white sheet, using white paper, or painting a white primer background.
Note: Using a roller is best to get the most solid coverage (yes, apply two coats) and no streaks. The point is to replicate the actual color appearance of the final surface.
Placement is important—Try to place your siding sample color strips next to the window or door casings, for the most accurate view of the colors and how they relate to each other.
Patches are confusing—use one color at a time. This is a useless waste of time, money and emotion.
What if you would like to see what your house or other building would look like with new colors…BEFORE it’s painted? That’s possible, and I can help!
Digital Color Views! Check out Designer Color Palettes on this site. For any interior and exterior projects, there is one more thing you can offer, that some painters have even used as their palette application guidelines: You can order a digital rendition of what the house will look like (exterior) with the various colors on the different parts of the house. That’s a great way to show a couple of color options in an overall visual. The output you receive is in .jpg or .pdf format. We can even show up to 50 different color areas on each image we prepare for you, if needed! Any detail can be included in the views. Just ask me about this service.
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 review, and illustrate a few notes about color testing…
Testing color strips right on the building is confusing and you can’t move the colors.
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.
Testing colors in proportion to their use
Make narrow strips proportionate in size to the overall area when testing detail trim or other accent colors.
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.
The privilege of color consulting comes with another attribute: it’s about being helpful. That means helping you out of a dilemma that causes stress.
A frequent situation happens when a client is overwhelmed by the sheer volume and number of color options. And of course each paint company has their own versions of “dove white,” and so forth.
One part of this situation is often keeping things simple in the midst of a renovation process. That can even mean painting one small room! The temptation for you as a homeowner is to choose too many colors, just because you might love them.
Which brings me to the related subject…”Love!”
Does “loving” a color—having a Favorite color—mean that it’s the best color to be surrounded by, or immersed in?
Then there’s the other side of “Love…”—the interpersonal part. How can two or more people get along with making and selecting and being happy-enough with their choices? How about a group of condo-owners who also have HOA restrictions?
And wouldn’t it be great to be able to have a pretty close idea of how your home or other building would look with the new color selections as if they are already painted? Designer Color Palettes is a unique, optional part of my color consulting service in which I can present you with views of your interior or exterior spaces demonstrating new colors, including paint color notations for you to follow up on.
You can read a few client testimonials here, and see just a few examples of “loving color” below.
That’s just one of the functional beauties of using actual painted color samples! These collections are just the beginning…many more color style collections are in the works! 
