Using Color in Decorating

Ikat Fabric and Wallpaper

Warm Colors are the easiest to introduce to a design because the colors remind homeowners of the fiery colors that radiate from the sun. These vibrant colors are reminiscent to fire engine reds, smoldering oranges, and bright yellows. These colors can make the room appear warmer, and the room will visibly advance. Cooler colors will recede and make rooms appear smaller or the walls close into the furniture. Warm colors give the illusion of intimacy but one should beware not to use warm colors if the room is already warm in character. This makes a space radiate too much warmth aesthetically. 

When using cool hues, one will envision water or ice. These colors are soothing as cool tones make a person cool down. These are shades of depths in the sea. Cobalt blues, aqua greens, and majestic purples. Cooler colors will make the walls appear to look larger; the cool wall color will seem to recede, making a room more open and airy. Cool colors are perfect to use in a room flooded with sunlight. The cool colors makes one believe they are in a cooler place as the psychological effect kicks in and the human psyche makes one feel cooler.   

Connecting with neutral colors similar to the family of tans, browns, beige, white tones, and grays can create a bond between colors and transitional spaces. Neutrals work to connect rooms as well as layer a foundation for more vivid color schemes or combinations. Mixtures are created by various colors, and colors have a psychological meaning that has been researched and studied for generations. In the last few decades, these colors have a refined definition that designers used in the industry of interior, graphic, and fashion design. The definitions are as follows, though they are not complete, this brief description will assist the interior designer in determining what the array of colors will do for the client’s home.

Red – this color can make one feel hot and is known to increase one’s appetite, heart rate, and passion. Red is largely used in residential dining rooms and fast food restaurants using this exciting tone in the color theme. Because red increases a person’s appetite, one tends to eat faster, and this is beneficial for fast food establishments. Red can often be applied in bedrooms adding alluring and sumptuous touches to enhance romantic settings. At times, designers use small portions of red hues in every room to increase warmth and comfort to the home.

Pink – Pink has matured and is not just for a princesses or toddlers. Pink along with touches of charcoal tones create a depth of richness. These neutrals embellish the look or intensity saturated pinks. Though pink portrays a softer approach to a feminine quality, the designer will balance the amount of pink with other colors to allow a mixed gender space in the bedroom. Hot pinks are still popular, but used in smaller amounts in addition to accommodate the aesthetics of the home.

Orange – Orange is known to develop nervousness and anxiety. When people feel edgy, they tend to fumble more or become frustrated. On the opposite side people tend to act giddy and playful. This color is high in energy and is perfect as a burst of color in a room. Orange can be daring in design and can create layers of color to energize a small space, such as the laundry room or hallway. A dull or shadowy space takes on a lively feeling as the bold color enlightens the space with this dramatic approach.

Yellow – this is the most controversial color in the color wheel. Thought often as a sunny and happy tone, bright yellows are aggravating and annoying if viewed too long. One should use yellow sparingly when decorating and only as a highlight in décor. If yellows are dominant as a design scheme, use golden yellows, butter tones, or pale tones of this hue. Yellows are tricky as it can have green traces that can suggest a sickly demeanor. Black can also change a yellow to a green tone, and this can creates chaos in the design. Staying on the lighter shade of yellow works best in decorating and can add a lighter nuance to the space.

Green – this is a natural color and can create a serene scheme if decorated with properly. Green can take on two jobs in decorations. These jobs are energizing and relaxing in various design settings. This can be done at the same time as a combination of tones. Good uses of greens are best used in a setting for bedrooms, living rooms, and for waiting rooms to create a perfect choice for tranquil, revitalizing, and stimulating environments.

Blue – this color can actually lower blood pressure and reduce an appetite in people. Needless to say, this color would not be effective in a kitchen or eating establishment as the loss of appetite may reflect on the food or the individual preparing the meal. One may even psychologically believe the food does not taste properly. The color blue and the tint of white are rebooted in trends or in fashions as realized in Wedgwood china, country decorating, and nautical design or navy schemes.

Purple – this royal and majestic color was just that a color representing wealth and positioning in class. This was a color that very few could afford in the earlier times of fashion and design. In the theater, a portrayal of nobility is symbolized in a deep purple and highlights of gold. Purple is best used in moderation adding richness or drama to the room without making the space look cagey or over theatrical in design. 

Black – this color does not just signify the rebel or a depressive cogitation. Black is a classic and regal accent color that shares a traditional and contemporary look in any room. Once thought of as an accent tone or a neutral to add to any upholstery piece, black is used in whole room applications partnered with rich tones or pastels, and accompanied by chromes, mirrors or crystals.

White – this color represents a clean and sophisticated class in design and white also can be used in traditional and contemporary looks in design and fashion. When one uses white he or she is trying to show spirituality, ethereal purity, and promote cleanliness. White is very popular in design, but designers will add various colors to add character and influences where a solid white could have a tedious presence in styles and textures.

Brown – another tone used to show a safe and a neutral tone in design has been rejuvenated from its former glory as a boring color. Brown is the new classic color that goes well in a rich design. Deeper tones of brown known as cognac, espresso, or Dark chocolate have accompanied rich colors such as various reds, burned oranges, bright pinks, electric greens, and smoky blues. Dark brown has moved into a multifaceted color and has been added to every color working as a strong companion in design and popular color scheme.

Whatever color used in a timeless collection, the tones capture a simple yet elegant design in today’s home and setting. The spirit a mixture of colors brings to a home is classic and transcending. The details of a crisp color can create a couture that a designer prepares for any individual looking for the next best trend. Colors should never be a fad, as trends seem to last and make a difference in future designs and styles. A high-quality or custom design can make or break a home’s success and as a designer it is his or her responsibility to deliver sound and professional advice to the public. With a refined eye, the designer will find the perfect materials and styles that capture the elegance and class that many homeowners are looking for in their home. Another important aspect in home design is the amount of calming and relaxation one can achieve through the colors used in the finished design.

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.