Renewed Appreciation of Color

Do you want to know a secret?  It is our ability to embrace our darker understanding of what draws us to investigate and question. Most individuals are guilty of wanting the more irresistibly gloomy depths of despair and the dark shadows of mystery. Colors create mood, and moods create sensations of masculinity and aesthetics of a hypocritical era to an elaborate futuristic vibe. At times, perceptible mechanics intrigue us in why we question how something works. Whereas visual effects, eerie collections, theatrics, and  fabrics like tweed or hounds tooth bring to mind inspired attire worn by famous characters like Sherlock Holmes or historical times such as the prohibition era.

When thinking of these facts, I also think of my favorite subject—paint—and when colors that are available came to be here like the natural colors derived from plants or geography. As an artist, one experiences nature through the layered colors of mineral deposits riddling rock fronts. One looks at the egression of hues that sparkle from a polished stone that was in a running river bed or the sea. Last, one would look at the distressed and weathered siding of a rustic log cabin or farmhouse; these hues look chalky or earthen. The materials become organic, and have a raw finish naturally matte in appearance. Through time and stress, these elements work hand-in-hand to develop a softened splendor of beauty. This beauty can influence one in comfort, restfulness, and tranquility.

As a designer, one will take these elements and do as an artist does creating a palette from natural layers of colors inspired by the recent appreciation of nature. This craft shows a down-to-earth aesthetic. This is not a new thought; historical colors were created throughout history to emulate traditional colors. This scholarly study of hues began with the development of colors from the period the colonists came to America.

Designers will pick a company that reflects his or her concept in historical colors. This process is through resources and study of historical architecture.  A favorite supplier is Benjamin Moore Paints and the reasoning is that this company specializes in chronological colors. This review will offer colors that reflect the era of multiple styles in American history using colors from today’s suppliers.

The Colonial and Federal Style 

This was called The Colonial and Federal Styles (1640-1825) when a new nation was created from scarce and limited funds. The pigments came from natural resources like the land, plants, and fibers. These pigments created a dark and rich hue of affluence in a growing nation. Homes were painted in a solid tone, including the trim and doors, but  the interiors were colorful and contrasting. The Federal Period was a post revolutionary war time when colors became lighter and more delicate with detail. These colors were accented on the trim by using off-white or natural opaque’s like ivory or bone white, and doors painted in dark tones like black or shaded greens to create a darker tone creating paler aesthetics in design.

Using Benjamin Moore Paints here is a list of colors that reflect the era’s color palette.

The Colonial                                                          The Federal

Mysterious AF-565                                                  Crumb Cake CSP-1010

Tumeric AF-350                                                       Monroe Bisque HC-26

Tea Room AF-270                                                   Hepplewhite Ivory HC-36

Jungle Canopy CSP-900                                         Van Deusen Blue HC-156

Dinner Party AF-300                                                Hawthorne Yellow HC-4

Thicket AF-405                                                         Marlboro Blue HC-153

Blue Suede Shoes 798                                             Hathaway Peach HC-53

Coriander Seed AF-110                                            Mayflower Red HC-49

Rustique AF-275

Rainforest Foliage 2040-10

The Early Victorian Period

The Victorian Period (1830-1900) was split into two periods. These are the early and late Victorian eras. Broken down, the periods start with an Early Victorian style that includes Greek revival, Gothic Revival, and Italian Styles. This was an influence from the long reign of Queen Victoria, and there were multiple varieties of architectural themes. As time progressed many styles comingled and created a transitional blend of styles. These were broken down by periods, but the styles blend to create each styles trades mark.

The Greek revival (1830-1850) Many architectures were placed close to the street with pediments, or themed columns (Doric, Corinthian, or Ionic). Many of the styles were large in keystone and design and took on the look of ancient temples. This color style included tones that look like sand or stones, marbles, and light alabasters.

The Gothic Revival (1840-1860) inspired romance and picturesque settings with drama and excitement. This style involved structural embellishments like steep gables, archways, and ornamental trim pieces. The colors for this heavier style were earthy deep tones. The house body and trim were painted in the same family with times when the trim may have been darker in tone.

The Italianate Revival (1840-1880) these stately residences were elegant and restrained from heavy tones, but rather by natural warm tones that highlighted the details of the architecture. Doors and trim were left natural and unfinished with color.

Here are the tones that make up the early Victorian Period.

Greek                                                     Gothic

Suntan Yellow 2155-50                          Old Salem Gray HC-94

 

Golden Tan 2152-40                               Lewiville Green 494                                               

Cotton Tail 2156                                     Saddle Brown 2164-10

Mellowed Ivory 2149-50

Roasted Sesame Seed 2160-40

Camouflage 2143-40

Italianate

Audubon Russet HC-51

Nickel 2119-50

White Wisp 2137-70

Wickham Gray HC-171

The Late Victorian Era

The Late Victorian Era (1855-1900) was inspired by French architecture grouped with ornate designs, slate shingles mansard roofs, and delicately crested ironwork. This era was inspired by two periods. The Second Empire (1855-1885) and the Queen Anne period

(1875-1900) homes were embellished early in this period with warm colors, light accents, and stone-like influences. Later, in the Second Empire richer tones deep in colorful shades and bejeweled darker hues created a geode of sparkle and depth.

During the Queen Anne period, styles were accented in irregular compositions and were represented by patterned combinations of textures, materials, colors, and gradations of décor. The diverse range of colors were displayed by contrast ornamentation from the body of the home to the clapboards on the different stories are separate hues. The doors and window matting was accented to accentuate another tone of contrast.

The following colors were chosen to compare period colors with available tones in today’s paint choices.

The Second Empire                                               

Meditation AF-395                                                  Weathered Oak 1050

Olivetone 252                                                         Oystershell 864

Gondola Ride 602                                                   Forest Hill Green 443

Vanilla Cookie 372                                                  Land of Liberty 440

Blue Ridge Mountain 1043                                      Pineapple Smoothy 142

The Queen Anne

Dakota Shadow 448                                                 Ipanema AF-245

Sweet Basil 455                                                       Colorado Clay AC-15

Warmed Cognac AF-235                                         Savannah Clay 047

Glacial Till AF-390                                                    Cascabel Chile CSP-445

Wenge AF-180                                                         Dark Burgandy 2075-10

 

The Colonial Revival and the Bungalow Style

Americans began to look toward the past and found a traditional direction in architecture. The Colonial Revival and the Bungalow Style (1890-1930) was an interpretation of historical architecture from the Colonial era. 

The Colonial Revival (1890-1920) was highlighted with ornate doorways, railings, and dark hues for shutters and doors. The exteriors were light in color with soft to off-white trim. The window trims were drawn from the 18Th century, and the interior woodwork was painted and accented with popular wallpapers as an aesthetic combination.

The Bungalows (1910-1930) were small homes with signature porches and dormers. This distinguished look was generally accented by natural tones of rough shale and river or fieldstones, roofed with shingles, and finished in stucco for the exterior of the body.

The historic accents and trim colors were dark toned to accentuate the softer body tones of the home with a traditional super white to use in various historical home designs. These historical shades add a prominent finishing touch providing enhanced distinction to the main style of the homes conveying depth in each era while preserving esteem to historical detail.

The Following colors display the appropriate colors from Benjamin Moore Paints for the Colonial Revival and Bungalow styles. Included with this review is the historical accent and trim colors.

The Colonial Revival

Good Morning Sunshine 326                                Lemon Ice OC-114

Vale Mist 1494                                                      Dolphin Af-715

Spring Thaw 1508                                                 Sunburst 2023-40

Franklin Lakes 1643

West Coast 1671

The Bungalow Collection

Cattail CSP-295                                                       Silver Streak 2119-40

Secret Path CSP-800                                              Smoke Gray 2120-40

In the Garden CSP-805

Porcini CSP-195

Taupe Fedora CSP-280

Historical Trim and Accent collection

New London Burgundy HC-61                              Frostine AF-5

Bewitched CSP-450                                              Caliente AF-290

Bittersweet Chocolate 2114-10                             Universal Black 2118-10

Salamander 2050-10                                             Paris Rain 1501

These popular shades can distinguish a variety of historical homes, as the colors will enhance the primary color providing a contrasting style. The highlights will express a deep opulence that accentuates the architecture of the home. This richness in color channels the eras while preserving a reverence to details that display significance. The value of a historical home begins with the appearance of the home. The authenticity of the colors can show pride in expressing true characteristics of a period.

The ownership of a historical home whether by era or known history, evokes style and pride as the homeowner acknowledges the importance to details and worth. With this in mind, the colors chosen to represent these historical colors were derived from architectural documents that revealed formulas, chronological material specifications, and paintings depicting the period.

The Four Elements of Paint Quality

The day does not go by that Tremblay House of Design is asked what type of house paint is the best to use. I have my favorites, but they are usually full of the basic ingredients that make up a quality product. The four ingredients are pigments, binders, liquids, and additives. A nice combination of these four elements can guarantee a beautiful and durable finish. High quality paint equals a higher value that goes on the wall easier, and the application is faster as the high quality paint will leave less holidays or bare spots to the finish. With less brushing and minimal retouching, high quality paint will hide the surface better, and the flow will make a difference to the painting process. This even flow will develop a uniform appearance that promotes an attractive and even surface.

The pigments promote a higher level of hiding pigments that have a better resistance to fading and chalking. This makes the paint more durable. The more opaque a color is or the whiter the pigment, titanium oxide, the better durability. This is not to say that a dark color is a bad choice, but it tends to have a shorter life than opaque pigments. A recommendation would be to use a light tone to the main body, a medium tone for the doors and specialty carpentry, and a white or off-white tone for any trim or fascia.

Binders will bind pigments into a tight and continuous film. This tight combination helps the paint adhere to the painted surface. The top quality paint has a higher binder and pigment ratio, and one can see how an exterior paint benefits the homeowner with a 100% acrylic binders. These binders will maximize the adhesion that will resist to blistering and premature peeling. These binders will aid against mildew growth and dirt penetration in the surface. In some areas, an alkyd—oil-based product—will seal over a stucco or exterior plaster more effectively.

This combination of pigments and binders creates a solid. The ratings of these solids are by percentages. A high percentage of solids will render into a thicker and more durable paint film. This percentage ranges from 35 to 50% solids. The lower grade paints will contain about 20 to 30% solids by degree. This introduces the liquids usually water for latex or alkyd for oil-based paint. If one imagines that the painters are using a low quality paint to save money, but the paint only has a 20 to 30% solid rating, one paints the house with 70–80% of water. This equals a shorter and less durable lifespan of one’s house paint. This is a poor way to save money in one's investment.

The liquids will carry the solids over the surface, but beware of paints that have poor longevity. Latex is cut (thinned) with water to apply paint by sprayer, and an alkyd is cut with paint thinner. Either process reduces the factor of solids. If the painter starts the job with a less quality paint, the house is in danger of developing paint failures early. A proper way to spray or roll a home would be to follow behind and back roll with another coat of paint. Any painter should not exceed a half gallon of water per five gallons of exterior paint.

The use of additives in a low-level provides key properties that can help in many applications. Instead of water, a painter can use a Floetral (latex) or Penetral (alkyd) additive to increase flow and leveling of the paint. This will also assist in a spatter free application as the additives will thicken the stream of spray. Other additives are Mildewcide products that reduce the resistance to mildew; preservatives best if needing an emulsifier, and anti-foaming agents to minimize air-bubbles in the film.

Since explaining the four elements, the most important step in painting is preparation. A poor preparation creates a poor paint job. One should identify the surface to paint and determine if the surface is wood, plaster, masonry, drywall (gypsum board), and metal. This process will help in deciding what finish and paint to use for painting. Finishes are the sheen the paint has after the paint is dry and completed. The sheens are as follows flat, matte or low luster, eggshell, semi-gloss, gloss, and high gloss.

In reading this summary of paint quality, I hope that one learns how to determine proper decisions in paint materials, wall preparation, and the four elements that will make or break the turnout of a quality paint job. Look for further tips on painting one’s home in future articles.

What are Textiles?

Recently, I was told I did not have enough knowledge to teach a materials class. I was surprised at first, and a tad upset, but I assume the individual was going off a brief conversation while discussing the class dynamics, specifically textiles.

Here is what I do know. Textiles are the most universal and efficient method to introduce texture, and patterns to a design. This could also add color to the interior by the reflective surface and the various styles of the materials. In the design industry, today the market can offer styles of textiles ranging from contemporary, traditional, and transitional. These textiles are available in natural fibers and synthetic fibers that typically are man-made. Pricing the textiles, the function of capacity of the textiles and the aspects of the textiles technically, can dictate the selection process.

The primary consideration for the designer is the process of spinning the yarn and the construction. This is how the designer will determine the durability of the textiles used in each job. Spinningthe yarn conditions the character or profile of material. This is called the denier or thickness of the yarn thread. The texture of the yarn can be twisted, slubbed, or smooth. The constructionis the process of creating a weave that is tight, close-set or open-set cloth. These range from a sheet sample of material to a netting sample like stocking or webbing. It is also measured by the thread knots per square inch.

Construction is the interweaving of the yarn. This yarn is the warp or filler yarn that is laced to create a weave. This process creates a knit, a hooked loop, or tufting of the materials. When I worked for the rug department at my previous job, I learned that this was a process of creating carpets punched by lines of needles that inject yarn into the fabric backing, usually woven or rubberized. This can be said for textiles in a fabric capacity as well.

Another construction process used for nonwoven fabric is the process of felting where loose fibers adhere to each other under high pressure. Determining if a textile is durable or maintainable it will depend on the fibers used and how the fiber is spun and constructed. These fibers can be classified in two ways, the synthetic fiber or the natural fiber. Each style has a subdivision.

Synthetic fibers are cellulosic fibers that are an organic compounds found in vegetation like plants. These examples are acetate, rayon, or triacetate.

Non-cellulosic fibers are made from polymers or glass products. These non-cellulosic fibers are the most common products used in more than one resource than just textiles. These are nylons, acrylics, olefin, polyester and a few others. One can tell if a fiber is unnatural by the way he or she observes a glassy or twinkly sheen when looking at the surface or hand of a textile at an angle.

Natural fibers can also come from plants or animals. Natural plant fibers are hemp, flax, jute, cotton, and ramie, which is a bark from the nettle bush. Animal fibers consist of wool, hair, and silk. Other natural fibers can come from metal like gold leafing or threads, copper, and silver. These natural fibers were used over 5000 years B.C., yet because they are so durable and resilient, these natural fibers are still used in today’s manufacturing of textile fabrications.

Hemp is the most durable of natural fibers and originally this fiber was exclusively used for ropes, and burlaps. Today hemp is used in some of the finest fashions for the durability and the ability to manufacture this fiber extremely soft. A way to sample this and other textile breakthroughs are through testing the fibers whether natural or synthetic for longevity and sustainability. Testing is the only assurance that manufacturers have in a product that will last the standard five to eight year lifespan of performance. Some of the performance issues are soil resistance and flame retardant. This characteristic is achieved by chemical applications like Scotchgard and Zepel. Both products can protect textiles surfaces from liquid, soil, and flame damage to the weave.

Weaving, as mentioned before, is achieved through construction. This is the process to loom by hand or machine and create a lacing effect of fibers. The shuttle will loom yarn through raised warp yarns creating a weave in and out. There are three methods in weaving a textile the first is a plain weave (later this was called taffeta), the second is satin, and the third is twill. Twill is used to create durable garments like a tweed jacket or bag. All three basic weaves are the same variation of the plain weave. The only difference is how dense the loom weaves the yarn with different fillers creating a selvage as a return. There are five different weaves available with basic taffeta, satin, twill, pile, and leno. The most durable—historical— fiber used in modern textiles is hemp and will continue to improve with age.

Well, that is what I know and I am sticking to it.

Reader's Comments

Hey Family and Friends:

I have been writing valuable and new ideas for over a year. Now it is time for you, the reader, to make comments over the articles that have been published so far. Here is your chance to add a suggesion for me to write about or comment on your favorite topic written so far.

Just add a comment to any or all of the posts that are of interest or what you would like to read in the next year.

I am open to anything, so let me know what you would like to read about. Have a fantastic holiday season this 2012.

The Art of a Kiss

A kiss can signal more than just a feeling, but rather short circuit one’s system the moment his or her lips touch. A kiss creates communications beyond words and is the beginning of volumes in emotions. If the kiss is done properly, the man communicates his intentions, and the woman can answer the man’s tactile statement. This statement could say, “I love you” or “I need you” or “I want you.” Either way, the communication is clearly stated by the way the kiss is presented. In every lifestyle this presentation is true.

On the flipside, if a kiss is delivered badly, one seals his or her fate, especially if a new relationship is in the works. Therefore, before this goes any further, one should ask themselves, “Where do I measure?” As long as one has kissed in their lives, have they learned any skills or techniques that keep the event fresh?  At times romance is in a rut and these established skills are taken for granted. Seriously, think about it, is the person good at a kiss or could the act use some invigorating help?

 

To become a better kisser, here are some key points to consider in helping one become a superior kisser. These skills will enhance the individual’s ability to weaken the knee or create that cardio marathon. One should use the skills that work best for the situation. Some skills are not what one looks for but can use the acts in the experiment to hone the ability to please his or her partner.

 

Never underestimate the use of eye contact. The delivery is important, and just like any delivery it should never be late. If one cannot read the signals, it is better not to try until you can. One method is to move closer SLOWLY to the recipient. An invitation will not be spoken here, and one should never ask if it is alright to proceed. Do not invade one’s space, just inch closer to the target, and do not make physical contact. This will build anxiety, and look for the flicker of his or her eyes as they look toward one’s lips for confirmation. This will show the way to the intense act of a passionate caress of the lips. In other words: a kiss, a lip-lock, sucking face, a make-out session, etc.

 

A make-out session should conclude with an element of adorability. This element could include a tiny series of pecks on the cheek, the forehead or temple, and the tip of the nose. With passion in the works, it is important to stop for a breather and look into his or her eyes before moving in for another kiss—this is rapture. A rapturous kiss when not expecting it is sexy. On the flipside, when strolling in the park or at the mall, from nowhere, press up against a partner’s body, wrap an arm around them and make-out passionately. Do not care who walks by! This will create a passionate memory that will last a lifetime.

 

A passionate kiss is imperative to the success of a continued relationship. Kiss slowly and make sure to read the movements of one’s partner. If one wants to continue kissing in any liaison than one should mean it and constantly induce passion to the act. Be strong in this point, and mix these ingredients into the kiss. One should kiss long, add the slow part here, and add a splash of kissing deeply and hard. A passionately hot kiss is garnished with either a hand wrapped around one’s waist or fingers gently in his or her hair right behind one’s neck. Most people adore their hair fiddled with and the slightest pressure showing support at the neck.  Do this at once and watch the fireworks begin.

One can display fireworks in another way by stealing a kiss like a thief in the night. This technique is a winner every time. Kisses are not always delivered face-to-face; sometimes kisses need to be a surprise. When a relationship begins, one takes his or her mate on dates. Never stop taking dates, this creates ruts and contention. Try this on the next date, and become the rogue partners’ looks for. One should excuse him or herself to freshen up at a bar, a restaurant, the game, etc. When returning, steal up behind them and put a hand around his or her waist and kiss the side of the recipient’s neck just under the ear. This brazen act will send quivers down one’s spine. Add a secret to this act and whisper into his or her ear to cement the longevity of this association.

 

Last, enhance your kiss with a heartfelt embrace. One should hug his or her partner to the right side. By doing this act the couple aligns hearts which are at the closest convergence in an embrace and the couple will feel the heartbeat of his or her partner. The power of this embrace can send chills through the couple and this fire will ignite any relationship to the next level. Always conduct yourself like a lady or a gentleman while committing to a relationship. There will always be time for naughty behavior if one plays his or her cards right and this is another topic to write about in the future.

 

In the meantime, a person needs the right amount of confidence and tenderness to deliver a proper kiss. Over-confident is a huge turn-off for many, and men and women despise a potential partner who is over-confident in oneself. With eye-contact, adorability, passion, risks, and communication one can enjoy a lifetime in a relationship. If this is what one wishes, and by following these simple rules, let the kissing commence.

A Complementary Design

With so many color schemes, it is the opposite of colors that creates a bold design. This relationship of opposites appeal to the interior design professional.

Like in romance, opposites attract in design. In designing a complementary color scheme, there is one example to follow that assists the reader in remembering a complementary color scheme of opposites. The reader could reflect on seasonal holidays as a tool in complementary colors.

In remembering winter, one should think red and green; spring, purple and yellow, and for summer the only remaining primary and secondary colors of blue and orange. Colors do not have to be a primary and secondary color only to become a complementary color. A designer could use a pink and a sea foam green to give the same effect. Another method is by using any other two colors on the opposite ends of the color wheel.

Using Complementary Colors in Design

This method of using two opposite colors is not for the timid or weak. Pairing traditional or opposite colors can create an austere contrast and set a mood of energetic or rich excitement. If the homeowner is more faint-hearted, he or she may want to stay with a less dramatic approach in using colors. For this approach, another way to use bold colors is to accessorize with matching boxes or complementary furnishings. One way to keep this delicate is to use a neutral color with the complementary colors. White shelving, brown hat boxes, or black framing can accent the complement of opposite colors.

As described in many design resources, one should design in 60% light tones, 30% medium tones, and 10% dark tones. This will ensure a proper use of colors for the schemes used in design. Neutrals can assist in this process to follow percentages in the use of tones to accentuate a color scheme if the complementary colors are too intense.

Methods to Adding Complements in Color

A good design process is to use an accent wall color. By using this method, one should break up the dominant accent color with fabric that hangs from the ceiling to the floor. This will cut back on the harshness of the accent color to create a layering of tones. This is a good way to reduce the strong dominance of a color used in bedding to coordinate. Dress a bed with many shades to enhance the depth of design. If the color used on the bedding is also accented on the wall this can coordinate a good design. This method of complementing can be useful in applying color to the floor by adding a rug or flooring to make the room more complete.


A complementary color scheme can be very effective when creating a good relationship between colors and design. This scheme of saturated tone brings out the best in each color and can add depth and a strong sense of style. This deeply bold sense of design can influence the look and by adding accessories, accompanying bedding and a decorative piece of art or flooring can add an attractive complement of romance and a desirable illusion of colors.

An Analogous Point of View

In designing, use analogous colors as a palette of neighboring color combinations to blend together a friendship of harmonious unity.

Analogous colors are neutral, intense, and at times saturated. An analogous example is a room of botanicals oozing with reds, orange, and yellow. If the room is saturated with a focal point of vibrant yellow, a warm supporting group of burned orange and reds with a fringe of green enhance the botanical theme. A nice example is art like Sunflowers by the impressionist Vincent Van Gogh. With this theme of neighboring colors the room would show warmth and comfort as well as intensity of color. Analogous colors are less contrasting and energetic than other combinations such as monochromatic or complementary themes.

 

 

The Beauty of an Analogous Theme

If the homeowner prefers a cooler theme of blues and green, the theme may change but the analogy of an analogous palette stays the same. A fine example of cool analogous themes are the evening sky rich with blues, purples, and magentas accented with hints of yellow as defined in Vincent Van Gogh’s Starry Night. Another look is the sun glow of gold, russet reds, and burned orange of the Mohave Desert. An artist can look at anything of nature and define an analogous theme. An interior designer can also look at nature and define a theme of interest. As the designer looks to nature for an analogous theme, he or she develops a palette from furnishings, accessories, and paint.

An Analogous Design

As a focal point, a forest thick with pine trees has a relationship with intensely dark and light greens, blues, and purples for depth within its theme. Within a home, like Mother Nature, the designer would look into a dominant color as the focal point in design. The natural focal point should stand out from the rest of the room. For an example, a designer should use the sofa as a focal point. The sofa should be used as an anchor. An anchor in design is the darkest object to give weight to the aesthetics of design. Using a lighter color is backward and can create a completely different look to the theme. The tone to use in an analogous theme should not interrupt the design. Therefore, use a darker color for a dominant theme base.

In design an analogous theme consists of three to five neighboring colors. Some new designers learn to use half of the 12 colors on a color wheel to accentuate his or her design. This process will enable the designer to introduce more accents to the design. As a designer becomes more seasoned in the design process, he or she will follow a true analogous theme of three to five colors. When designing a space, the designer should use a formula of 60-30-10. Sixty percent of the space will have a reserved or neutral color. Thirty percent of the space will portray a medium blend of dark colors, and ten percent of the space will have a bright and saturated color as an accent in the room.

Accessorizing With Color

Designers will often use greenery to accent in fresh tones of calming shades of green. This way the room has a natural look of nature inside the home. The designer should use a screen or an accordion partition accented with colors from the room to pull all the colors together. This will wash the room with an analogous theme. Designers often use layers of fabric to accent a window to the focal point like the sofa. This process gives form and continuity to the space. Using wood tones will dramatically ground the natural effect of an analogous theme as the colors saturate the room as a force of nature.


Although an analogous color theme is easy to create, the themes can become repetitive. It is the use of values and varieties as described in this article that will intensify the arrangement and increase interest. Designers will develop an easy way to achieve interest in an analogous color theme by placing emphasis in that dominant color or focal point.