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).

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.

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

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.

“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!

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.

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

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

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.

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?

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

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.

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.

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!

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!

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!

Coming to Terms: Saturation & Intensity

Coming to Terms: Saturation & Intensity

Many of us love to “geek out’ on color…whether it be with tools, materials or terms.  There isn’t always agreement about what each term actually means, and some of them seem to overlap.  Maybe some color terms cannot be neatly tied up in  one definition.

Let’s perceive this post as an exploration, an investigation, and a drilling down into some of the color terms we use every day.  Well, the color terms we may use often, without truly thinking about it, or considering what they mean. Perception…that’s the ticket!  We’re going to take this slowly, step-by-step, working (and playing) through the terms, like Noah’s Ark, two by two. We started at the beginning, with Color &  Hue.  We worked  our way through Colorfulness  & Chroma. Now let’s look at the intertwined concepts of Saturation and Intensity.

Many of us use the term “saturated” often…and the term “intensity” even more. But, what do they mean? is there even an agreement as to what they mean?

Saturation has been described as the strength of a color, the dominance, and/or vividness of hue in a color, the intensity of a color,, the degree of difference of a color from a gray of the same lightness or brightness as the color.  Saturation is one of the three aspects by which a color is described, the others being hue, and value.

We learned that “Colorfulness can be defined as ‘”the degree of difference between a color and gray…and Chroma is the colorfulness relative to the brightness of another color that appears white under similar viewing conditions.”

Saturation may be defined as “the colorfulness of a color relative to its own brightness.”   or “ the degree to which it is different than gray at a given lightness.” Saturation measures the degree to which a color differs from a gray of the same darkness or lightness.”

Thus, the Saturation aspect of a color may be defined as how far is from gray (“Colorfulness”), as regards to the aspect of “ visual perception in which a source appears to be radiating or reflecting light.”, or, Brightness. Thus Saturation relates to Brightness, which relates to to Luminance, which will be discussed in a subsequent post!

We have ascertained that “unpacking’ these Color Terms is akin to a a tongue-twister AND a brain-teaser!

To desaturate, (lessen saturation, or make less intense, give the appearance of being less strong, or, less full of, color) in a subtractive system, such as paint color, gray, black, white, or the complement (the color opposite on the color wheel) of the color in question can be added.  All will serve to lessen the intensity, strength, “purity”, concentration, and / or colorfulness of the color, and thus make it less saturated.

The term “Intensity” is often used interchangeably with “Saturation”, by painters and others.  I prefer to think of the term “Intensity” as a descriptor or adjective of “Saturation”.  “ Also known as “intensity,” saturation describes the strength of a color with respect to its value or lightness. What that means is a color’s saturation is the degree to which it is different than gray at a given lightness. For instance, colors near middle gray are relatively unsaturated compared to brighter, more vibrant colors….”–http://www.colorcube.com/articles/theory/theory.htm

“….saturation tells us how a color looks under certain lighting conditions. For instance, a room painted a solid color will appear different at night than in daylight. Over the course of the day, although the color is the same, the saturation changes. This property of color can also be called intensity. Be careful not to think about SATURATION in terms of light and dark but rather in terms of pale or weak and pure or strong.”—http://www.colorcube.com/articles/theory/glossary.htm

Remember, Saturation is related to brightness, light, and luminance.

Well, I hope your brain is not completely scrambled! It may be time to take a deep breath, relax, let our minds unwind, and take a moment to simply enjoy and revel in color…and saturate our soul and senses with it…pure, intense and full.

Coming to Terms: Colorfulness & Chroma

Coming to Terms: Colorfulness & Chroma

Many of us love to “geek out’ on color…whether it be with tools, materials or terms.  There isn’t always agreement about what each term actually means, and some of them seem to overlap.  Maybe some color terms cannot be neatly tied up in even a colorful bow of one definition.

Let’s perceive this post as an exploration, an investigation, and a drilling down into some of the color terms we use every day.   Well, the color terms we may use often, without truly thinking about it, or considering what they mean.  Perception…that’s the ticket!  We’re going to take this slowly, step-by-step, working (and playing) through the terms, like Noah’s Ark, two by two. We started at the beginning, with Color &  Hue.  Now let’s work our way through, and look at the inter-related terms Colorfulness and Chroma.

Colorfulness:  The definition that made the most sense to me is: ‘”the degree of difference between a color and gray. “–https://en.wikipedia.org/wiki/Colorfulness   In essence, Colorfulness is the level, or amount of color in a color! Not to be confused with “Hue“, or the “color of a color”. IE-the question,  “What color is it?” Relates to Hue, while “How full of Color is it?” relates to Colorfulness.

Gray is a mixture of black and white, “Grey or gray is an intermediate color between black and white, a neutral or achromatic color, meaning literally a color “without color.” To drill down a bit on “Gray”, and its components, Black and White: “Black…. is the darkest color, the result of the absence of or complete absorption of light. It is the opposite of white. ….the color the human eye sees when it looks at light which contains all the wavelengths of the visible spectrum, at full brightness and without absorption. White does not have any hue.”

Chroma may be described as “the colorfulness relative to the brightness of another color that appears white under similar viewing conditions.”  According to this definition, Chroma is a type, or aspect of Colorfulness, which relates to Brightness (which relates to Light, and  Lightness.)  This exploration  is becoming quite a tongue-twister as well as a brain-teaser!

Thus, according to the above definitions, Chroma, means how far a color is from achromatic gray (Colorfulness),  as compared to the brightness of another color that appears white under similar viewing conditions.  Spoiler alert: “Saturation is the colorfulness of a color relative to its own brightness.“     (We will get into Saturation, Brightness, Purity and Intensity in subsequent posts!)

Thus the term Chroma is associated with Brightness, or the perception of luminance.  I am repeating here, but sometime repetition helps us to drill down into, dissect and finally understand meaning.

Well, that is about all the drilling down we have time for at the moment, so I  will leave You with my heartfelt wish that your Life be filled with as much Colorfulness, and the highest level of Chroma that you desire, with the Achromatic moments far and few between.  Unless you love shades of Gray, of course!

Love Haight Victorian Color

Love Haight Victorian Color

Last summer, the summer of 2011 that is,  I was called upon to assist some very bright Clients  in assembling a color palette for their Victorian near Haight Street, in San Francisco.

The building had a lighter (creamy-white) body, with darker (pale greeny-blue) trim, and the Client wanted to reverse the value  (lights and darks) emphasis…and perhaps create a value-added proposition in the process.

The house boasts a variety of architectural details, and the two porch “roofs” or overhangs provided a particular color placement challenge.

Once we had determined that the house body would become darker in value, and the trim lighter (a more common approach in the area), the next step was to choose the body or field color, which would go pretty much everywhere on the house, except for its multitude of trim, decorative detailing, doors and roof.

I looked at a number of houses suggested by the Client, and we narrowed the body color down to three hues in the green to gray range. The Client’s painter put them up, I.E., painted out large sample swatches on the house’s exterior siding surface, which made the final choice much easier!

Extension ladders were used to reach the high-up areas. Wow. That’s high. Intrepid painter.  Better he then me!

Many details and textural surfaces up at the very top! We needed to take each of these into careful consideration when creating the color design, as the Clients wanted to both highlight the details through accent colors, and unify, integrate and streamline the building’s total look, at the same time.

In order to minimize the detail and make it more visually subtle, and the color design, building and architecture more elegant and streamlined, an interlocking palette of closely related colors from both the Benjamin Moore, and Sherwin Williams pantheons was chosen for the trim and accent colors.

Benjamin Moore HC (Historical Colors palette) 108, “Sandy Hook Gray” was selected for the house body color. Its gray-green hue has a dimension of warmth, and a quiet complexity, suited to the feeling the Clients wanted to create. Sherwin Williams “Shoji White”  (SW7042) in semi-gloss (?) was chosen for the multitude of trim, as its undertone works well with the body color.

The porch overhangs were done in the body color, at 50% formula. The same ratio of tints were used, but in half the amount, creating a barely perceptible shift in value and intensity. The overhangs are also in shadow, not being exposed to direct light, thus making them read slightly darker.

SW7046, Sherwin Williams  “Anonymous”   in a satin sheen was used on the window sashes “outlining”, or highlighting the windows),  as well as on the garage door, the inside of and around the decorative , detail-filled triangles  on either side of the top of the house, and the central cross detail just below the roof’s tip.

The service door tot he right of the entry stairs was done in : Benjamin Moore HC 107, “Gettysburg Gray”, in a satin sheen, while the same spec in eggshell adorns a high-up “stripe” (architectural detail running horizontally across the upper part of the facade).

To add a touch of elegance, and “punch”, Sherwin Williams “Urbane Bronze’ SW7048 in a semi-gloss sheen was painted on the front door, leading the eye to this main entry, and providing a nice contrast to both the garage and service doors.

The deep color of the front door picks up on the dark bronze hue of the overhanging entry light fixture, packing the visual “punch”.

As a final detail, Modern Masters ME238 “Blackened Bronze” metallic paint (and accompanying varnish)  was added to the ball ornaments, and carved ornamental details within the smaller,  lower triangles.

The result is a color scheme which unifies the structure, and adds elegance and dignity to the home, while still celebrating the fun and fancy of its multitude of Victorian details, while taking every visual aspect of its front exterior into consideration.

The Clients, a bright couple with a fine eye for detail and  design, participated fully in our color collaboration, and, with their two young daughters, will hopefully enjoy their carefully colored, harmoniously hued home, for many years to come.

What color joys and challenges have YOU had lately?

If you feel so inclined, please share about them with us here.

We love to hear from You.

Remember, we are all coloring in our Lives  in this world, together.

Happy Hue to You!