Compliments of the House, Inside and Out

Compliments of the House Inside and Out

Thinking about systems of opposites..which is exactly what complimentary colors are..colors that are opposite each other on the color wheel.

Sets of compliments are created from the combination of one of the three primary colors (those which cannot be mixed from any other colors: Red, Yellow, Blue), and one of the secondary colors (a color created from a combination of two of the primaries: Green, Orange, and Purple).

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Red and Green, Blue and Orange, and Yellow and Purple are the complimentary sets.  These powerful pairs play together in any number of ways. Like the relationship of black to white, they set each other off when placed next to each other, and “neutralize” each other when mixed together, creating potentially gorgeous  hues of gray.

Pairs of compliments can be used to great effect, and are big fun to design with. They can be used as accents, as a background and an accent, to create a sense of drama, or just to wake up our senses.  They can be found in nature…think of a field of red poppies amidst green grasses, a glowing orange sun sinking past a midnight blue horizon, a creamy yellow moon rising against a velvety purple sky.

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Green leaves outside and green window shades  inside set off the red and cream hand-painted design atop a Northern California Benihana Restaurant.

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We can almost taste the predominant apple green in this San Francisco Blush Organic Frozen Yogurt, and its intensity is heightened by the streaks of red framing the counter.

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“Pale” red…or, pink…sets off the strong, brilliant, almost fluorescent looking green. Because this pink is softer and paler than red, the intensity of putting the two together is mitigated, and gives the sense of Springtime holidays, rather than those of Winter!

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Here it is the green that is softer than the red…a minty, slightly earthy hue that relieves the strong pinky red, but also allows it to remain dominant.

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Copper, a form of orange, frames the mottled blue of this entryway and makes it pop.

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The strong orange accent brings the weathered blue into focus, and is framed by it, the whole softened by white.

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Copper against blue, mottled with a rusty hue illustrates the opposite effects of complimentary pairs: The orangey copper stands out against its blue compliment, which is  toned down by the addition of orangey red sponged over it.

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Orange and blue, the colors of fire and water (themselves opposites), work together to create a sense of drama in this otherworldly setting. or is it a film set?

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The new Dunn Edwards Paints Store in Marina Del Rey, CA uses the tension of opposites between orange and multiple blues to great effect!

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Turquoise and brick red, another version of the blue and orange complimentary pair play well together on this house in the foggy Sunset District of San Francisco.

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Gold and purple, a version of the compliments yellow and purple, are both associated with royalty, which add to their sense of drama, intensity, and just plain awesomeness when paired.

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The yellow ceiling gradates to orange, and provides sharp contrast to the purply-wine walls. Those who live here would have to love strong color!

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Creamy yellow both accents and relieves the dominant  periwinkle hue making it easier for our eye to rest upon it, and also more visually arresting. A beautiful combination!

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The yellow/purple compliments of ochre and wine, relieved and softened by white, accent the multitudinous ornament of this Victorian in glorious detail.  Without the white though,  the intensity might be tiring to our eyes. The white soothes and frames the punch that the complimentary relationship packs.

How have You used compliments, and the complimentary relationship in your creative endeavors? Architecture, design, color consulting…personal art and craft pieces?  Please share and enjoy, compliments of the house!

Standing our Color Ground II

Standing our Color Ground II

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Having completed a rather large and multifaceted color consultation for a set of two buildings anchoring opposite corners of a block in the “The Valley”, I decided to disseminate the experience, and its results through a series of blog posts.

As I explore, express and evaluate this consultation over the course of several posts…there will be the time to contrast the colors that were to the colors that became, look at details, and compare the two buildings, one on either end of a median-sized block in Canoga Park, a district in the San Fernando Valley, about 25 miles northwest of Downtown LA.

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This building, called SONATA, sits on the same side of the Canoga Park block as its sibling “ARIA”, but at the other end of the block, caddy corner from a heavily trafficked intersection, and is composed of both stucco  and wood siding.

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The accent color Rosewood, a Dunn Edwards hue, reflects the same accent color down the street on ARIA.  As the visible foundation color is the greenish-gray “Bison Beige” in 200% formula, it creates a complimentary pop next to the reddish Rosewood.

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The field or “house body” color, Dunn Edwards “Hickory” , in 75% formula, providing lightness and calm to unify the assorted materials, and proliferation of balcony “bump-out”, which accent the exterior.

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The sides of the building take up part of a block, and thus must provide a pleasing visual, and visceral experinece for the passer by.  Here we can see how both the lower, darker foundation color, and the field or body color serve as a backdrop for green plants, and gray tree trunks, which almost give the sense of a promenade or boulevard.

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The boulevard feeling is carried through the inner courtyard, where each resident has their own door, sporting a rather intense 200% formula Rosewood.  The Euro-feel awnings amplify the effect!   At the end of the “boulevard” the far courtyard wall is accented by “Hickory” in 200% formula…just that slight intensification of the color to set it slightly apart from the field color.

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my favorite shot of this building and scheme…it reminds me of where I lived and walked n Southern France many years ago. The railing, and other ironwork is painted in Dunn Edwards “Chocolate Pudding” hue!

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Because of the unification of materials, which affects how the paint color is perceived, the back of the building, to my mind, may be even more aesthetically pleasing then the front!  Fewer cars, too!

It would be fun to look at the building sibs, ARIA and SONATA together, and muse about both their differences, and their similarities.

Shall we do that in the next post?

Great, its a date then.

Take care, and, until then, Be Well…

 

Standing our Color Ground I

Standing our Color Ground I

Having completed a rather large and multifaceted color consultation for a set of two buildings anchoring opposite corners of a block in the “The Valley”, I decided to disseminate the experience, and its results through a series of blog posts.

Decorative Painting and Color can be all about sumptuousness…but it can also be about streamlining, revealing the lines, and getting down to the bones.

Taking a cue from marketing guru Seth Godin, and his concise, pith, and enormously popular blog, (called, pithily enough, “Seth’s Blog“), I am going to make these posts short, succinct, and see if I can let the images do the talking. (Well, Seth doesn’t use many images, but he is a model of succinctness, and easy to read and take in.

As I explore, express and evaluate this consultation over the course of several posts…there will be the time to contrast the colors that were to the colors that became, look at details, and compare the two buildings, one on either end of a median-sized block in Canoga Park, a district in the San Fernando Valley, about 25 miles northwest of Downtown LA.

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The entry of  the building called “ARIA”…made smoother and sleeker with addition of glass, a dark, grounding foundation, and lights that ass a bit of character. Notice the integration of the brown color in the tree branches which reach out to “touch” the building, with the brown of the foundation color. not the same, but related.

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“ARIA” en totale….pops of color in the bump-outs, or balconies, both accent and tie together the sandy body or field color, and the chocolatey “grounding”  foundation color. The door is painted in a 200% formula of the balcony color,  (meaning that the amount of tint added to create the paint color is doubled, increasing the intensity of the resulting hue.)

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Streamlined greenery provides another accent hue…even more so in complementary contrast to the red in the balcony color.

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The foundation color on the balconies, and strong door color add livable accent and interest to ARIA’s inner courtyard.   If the red-toned color on the exterior balconies was carried to all of the inner balconies here, it would have been too much: over-stimulating, and underwhelming. Instead, the doors punctuate the long walls, and reflect light from their semi-gloss surfaces.  The concrete floor is deeper, with a grey cast, making it easier on the eyes then a brighter hue.

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The contrast in colors, and the textures of the smooth, semi-gloss surfaces of the doors, and the flat sheen, rough texture of the stucco walls create a pleasing visual tension.  The proper amount of tension, paradoxically creates balance…though not necessarily symmetry.

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The sun’s white light transforms how we perceive the painted color, making it appear warm and earthy,

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as opposed to cooler and grayer when not in direct sunlight.  The window profiles are painted in 200% formula of the field color, bumping it up just slightly, adding interest without visual clutter.  The metal color of the sconces is reflected in the railings and other ironwork.

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Each resident adds their personal touch…above we have a grouping of three black “sculls’…and they fit right in!

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“Windowscape”?  “Curated” grouping?  Just plain fun?  Halloween leftovers?

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Portrait of a side door….resplendent  in its Rosewood hue, framed by the Teabag– colored foundation, flanked by Weathered Brown-painted iron railings, and shining below a 100%  Hickory house body color.

Next up…a romp through the “perfect palette” of ARIA’s sister property, SONATA…a very different building situated at the other end of the block.  Their color schemes are interrelated, but not the same…because no two buildings are the same.  Even if they claim the same blueprint parents, the  way a building sits on the earth, the way its surface reflects the light, the effect of its surroundings, whether they be flat or foliage, profoundly affects the color we see.  It  is an endlessly fascinating subject, and study

Well Seth, I am not sure if I truly stayed simple…but I h  expressed my passion for color, architecture, design, and the human spirit’s quest for beauty, joy, and perfection.  That last one will always elude us, but at least we can have fun trying!

Until the next…Be Well…