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Category Archives: Color Theory
How moody are you? What is your color story? One might ask these questions when approaching an interior design project. The presence, or absence of color is in our daily lives — from the moment the sun rises, casting its tone and mood on the day, to the clothes we wear, to the spaces we live in. Light and color are synonymous. Looking inward to the space we live in, specific hues can provoke different emotions, associations, and responses that affect how one’s home is perceived. In fact, some research has shown that color can increase mood up to 80%.
Let Color Choices Dictate Design Plans. Color choices can make or break a design. Fortunately, we are far from the times when our color choices were limited to a small batch of natural pigments. Synthetic pigments and the screen have made our lives increasingly easier, while also making decisions infinitely more complex.
Faced with such an overwhelming amount of color options in today’s markets, many homeowners profess to be afraid of color, for fear of making mistakes. Consulting with an interior designer when selecting a color palette for a design project is an integral part of the process.
How Mood and Color Create Your Story. When telling a client’s color story, I always start with getting to know their personality and lifestyle. A color story should reflect various elements of a personality to avoid looking like a theme, so it has always been important to me to add a mixture of light and dark.
A rich color story should also be offer flexibility and adaptation – I decorate for all seasons and moods. Purely as a personal preference, the complexity of moods is what I am drawn to, love and relate to. I probably wouldn’t be happy in a totally light, airy home; my nature and personality requires a moody house so much so that a light and cheery environment, for me, would feel as if it was missing some depth, richness and contrast.
While I typically have a mix of light and dark all in one room, I also find it creatively interesting to experience various moods as I wander through the house. The “moodiness” of a room doesn’t have to come only from colored or dark walls, of course, it can also be achieved through layers, darker floors, a mix of richer furniture, antiques, fabrics, or painted cabinets—all combined to reflect a mood and tell a story.
A color story should reflect various elements of a personality to avoid looking like a theme.
At times, the actual space also dictates the setting of a mood. Moody rooms might feel more appropriate with certain styles or even locations and settings of a house. Case in point, when a space has a lot of natural light at the back of a house, dark wall colors would feel washed out, so a lighter color and tone and mood works best in those rooms.
For me, I feel best when the mood of a home feels inspired by and incorporates aspects of the mood of the natural habitat we live in. I tend to feel more comfortable with colors that have slightly warmer or gray undertones. Selecting colors that reflect and arouse a sense of cohesiveness inside and out feels more settling and comforting to me. So, don’t be afraid of being moody. Use it to tell your personal color story.
About Designer, David Chenault
These words have been used by clients and peers to describe the designer who is David Anthony Chenault. Born in Denver, Colorado and raised in Missouri, David Anthony Chenault had a creative eye and a penchant for making things beautiful since early childhood. He was simply born and destined to be a designer. He went on to graduate with a degree in Architecture with an emphasis in Interior Design from Southwest Missouri State University.
Over the course of 28 years, David has since transformed many homes in the tri-state area, as well as designed memorable residential and commercial projects across the country. As the principal interior designer for David Anthony Chenault Interior Design, David creates fresh, timeless spaces that are beautiful, elegant, and unforgettable. The design is a collaboration of his own vision and that of identifying the dream that is within the client’s desires. The style of his work is traditional with a modern approach. “We want our homes to reflect the client’s lifestyle, not a fancy trend,” he says. “Homes should emanate personality and warmth, and be comfortable and livable while retaining a certain formality.” David’s work has been published in Christie’s Great Estates, Home & Design, Washingtonian, Northern Virginia, Architectural Digest and 417. Regularly featured in Houzz.com, currently, Home and Design “PORTFOLIO” has also added David as one of the Tri states’ Top 100 Designers.
Contact David at http://www.davidanthonychenault.com
Brilliant Color and Better Coverage
Have you ever heard someone toss around the term “full-spectrum paint” and wondered what they were talking about? Well, it’s not just for insiders anymore. Most of us are looking for paint color that will be beautiful, dynamic and durable. Enter, full spectrum paint.
Quite simply, full spectrum paint color utilizes multiple pigments that represent more of the color wheel. Most paint colors are made with two or three pigments, plus black, to create the majority of paint colors on the market. Full spectrum paints often have upwards of eight or more pigments, and no black, to create more beautiful, luminous colors.
C2 Paint’s “Zorro”, a near black color that feels as mysterious as the masked man himself, contains no black pigment. Black paint made with no black? It sounds crazy, but it’s true! So, why does that matter to you?
Historically, black has been an important pigment in the paint industry because it gives paint makers a shortcut to getting great coverage in one or two coats. If you have ever had the chore of painting four or five coats of red on a wall, then you know what I mean.
There is a huge drawback to using black in the production of paint colors. Black pigments “de-chromatize” colors and make them look lifeless at certain times of the day. That means that the rich claret color you so painstakingly chose will look grayed and dull instead of colorful and interesting. Think about it in scientific terms: black absorbs light, rather than reflects it. Make sense?
Since no one wants muddy, lifeless walls, the solution is to use a full spectrum approach to creating every color. Once I explain how C2 Paint colors are made, I am often asked by my customers: “Why doesn’t every paint company do this; it seems so logical?”
Top 3 Reasons Why Companies Don’t Invest in Full Spectrum Paint Color:
#1 The basic pigment cost is higher, and most paint companies are interested in shaving those dollars OFF their costs, not adding to them. Investing in better pigments and investing in new color recipes for an entire paint brand is not seen as a priority to those shareholders. I certainly don’t blame them; the cost is immense to make changes across a national platform, but it DOES affect how the paint interacts with light, and ultimately it affects how I feel about the color!
#2 Most paint makers don’t consider color in their decisions. (I know, it makes no sense!) And if they do, it’s pretty much last in the equation. First, the price points of the paint are determined, and then the paint itself is formulated. The color conversation is secondary to all of this.
#3 Lack of interest in color. This sounds pretty fundamental, but I think there is a lot of truth to this idea. Paint chemists are not by nature colorists. So, it’s simply not on their radar in the same way as it is to you and me.
When you or I get ready to repaint, our primary concern is about the color. We know that when we go to our independent paint store, they represent great-quality products. But how that color will look on the wall year after year has to be taken into consideration.
At C2, paint color is as much a primary value to the company as is the paint product itself.
The Proof is in the Pigments
Are you aware that different paint companies use different pigments to make their colors? That’s why you can’t just take a paint recipe from one company and have it made into someone else’s paint brand. They don’t necessarily translate without some serious color-matching skills.
Some pigments are finely ground and are made of very small particles; others are larger and less uniform in size and shape. The smaller ones cost more than the larger ones, which is one reason why cheap paint never looks like it does on the sample. This particle size also affects how the color displays on your wall.
Paint, by its very nature, is transparent. Yes, you can actually see through it! That’s why it takes four or five coats of “average” paint to get adequate coverage on certain colors, like reds. When you use a finer grind of pigment to make a color, you end up with a paint that also gives much a better, more opaque, coverage or “hide.”
It’s similar to the difference between using cheap, drugstore eye shadow and higher-quality department store eye shadow. The color, application, longevity and final product are that much better with the good stuff.
With better hide, our old friend black is no longer needed in the equation. And with black out of the picture, we can make our walls feel luminously beautiful. Not bad for a can of paint!