STIR 2.2 2005

s t i rS H E R W I N - W I L L I A M S® W h e r e C o l o r a n d C r e a t i v i t y C o n v e r g e Vo l u m e 2 • I s s u e 2 • 2 0 0 5

Color Psych 101 n Winning Whites n Ceiling Masterpiece

™

LATTÉ, ANYONE?

ore than ever, color choices seem to be motivated by

primal emotions and sensory experiences. For years,

the walls in my home were clad in creams and

whites, blank backdrops for brighter furnishings, and

art. Now all my walls are shades of yellow,

from butter to citrus, the reflection,

perhaps, of a need to summon forth a

sunnier mood and time. I find inspiration

in the warmth and positive energy of

color that evokes the first hopeful

daffodils of spring, a frosty glass of

lemonade during summer’s heat, and the

last defiant leaves of autumn.

The growing popularity of the color Latté

(SW 6108), the most requested Sherwin-

Williams paint chip, is further testimony

to the power of the senses to influence

our perceptions. The coffeehouse craze

that spawned a smash TV sitcom and put a café on every corner is

surely linked to the increasing appreciation for colors like Latté. Once

disdained as muddy and drab, they are now described as robust and

full-bodied, just like their namesake brews.

While midtone to darker neutrals are coming into their own,

variations of white are still Sherwin-Williams’ best-selling paint

colors. Just as indigenous peoples of the North have dozens of words

for snow, designers can call upon the many hues of white to convey

the unique properties and sensations of the spaces they create.

Sincerely,

Sheri Thompson

Director, Color Marketing and Design GroupThe Sherwin-Williams Company

P.S. Be sure to visit swstir.com to learn more about this issue’s

topics and get a preview of our next issue.

STIR Advisory BoardJoann EckstutThe RoomworksNew York, N.Y.

Janet Friedman, ASID Friedman & ShieldsGreenbrae, Calif.

Ruth Jansson, IIDA, LEED, APGensler Architecture, Design and Planning WorldwideWashington, D.C.

Marcello Luzi, ASID Weixler, Peterson & LuziPhiladelphia, Pa.

Jill Miller Mithun Seattle, Wash.

Jill Pilaroscia, IACC The Colour Studio San Francisco, Calif.

Paul Sarantes, ASID, IIDA Archicon Architects and InteriorsPhoenix, Ariz.

Mary Slater, NKBAAi Miami International University of Art and DesignMiami, Fla.

Linda Smith, FASID education-worksDallas, Texas

M

Editorial Advisor:Tresa Makowski

Executive Editor:Bryan Iwamoto

Editor: Kim Palmer

Managing Editor:Laura Pigott

Executive Art Director:Sandy Rumreich

Senior Designer:Cate Hubbard

Senior Editors:Jim Thorp, Lynn Bronson

Production Director: Kim Olson

Traffic: Mitch Thompson

Client Services: Amy Kromminga

STIR™magazine is publishedby Hanley Wood, LLC, onbehalf of The Sherwin-Williams Company, forinterior designers andarchitects. We welcomeyour questions andcomments. Please directcorrespondence to: Sherwin-Williams STIR MagazineHanley Wood 430 1st Ave. N., Suite 550Minneapolis, MN 55401 Phone: (612) 338-8300Fax: (612) 338-7044E-mail: [email protected] site: www.sherwin-williams.com

For Sherwin-Williams color and productinformation, contactyour Sherwin-WilliamsArchitectural AccountExecutive or call theArchitect and DesignerAnswerline at(800) 321-8194.

Printed in the United States, © 2005 Sherwin-Williams, Vol. 2. Issue 2, 2005

The trademarks and copyrightsof Sherwin-Williams appearingin STIR are protected.

s t i rS H E R W I N - W I L L I A M S

ON THE COVER

COLOR PSYCH 101

Research on theimpact of color onmood and behaviorshows that situationoften plays as impor-tant a role as science.

10

PALETTE

Kids come up withnew colors. COLOR To Go™ makes colorsampling easy. Amanual to help yousell clients on color. A sneak preview ofSherwin-Williams’redesigned Web site.Why higher-qualitypaint costs less.

2

THE WHY OFWHITE

Design possibilitiesand pointers for awide range of whitesshowcase the powerof pale in a variety of settings.

5

A VISION INGREEN

Vermont’s ECHOmuseum, evangelistfor a greener way oflife, walks its talkwith environment-friendly color.

8

CROWNINGGLORY

Intricately paintedceiling lendsgrandeur to a study in suburbanPennsylvania.

14

GOING GREEN

The hippest fibersare made from a sustainable harvestof cornhusks, herbsand hemp.

16

BLOOMING COLOR

Master gardener and author DebraPrinzing offers tipson designing color-coordinated outdoorrooms.

17

COLOR SPY

Monique Lhuillier,bridal designer andcouturier to the stars, reflects oncolor in fashion.

18

LIVING IN COLOR

Chic furniture andaccessories coordi-nate with Latté,Sherwin-Williams’most requested color sample.

20

FINAL TOUCH

The color sciencebehind neon, brash symbol ofVegas style.

21

Vo l u m e 2 • I s s u e 2 • 2 0 0 5

C O N T E N T S

10 18 20

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S H E R W I N - W I L L I A M S S t i r 1

2 S H E R W I N - W I L L I A M S S t i r

PaletteC O L O R N E W S A N D S O L U T I O N S F R O M S H E R W I N - W I L L I A M S

Want to make sure Flattering Peach (SW 6638) looks as sweeton your walls as it does on paper? Now you can “taste-test”Sherwin-Williams colors before applying them to entirerooms with the new Sherwin-Williams COLOR To Go™ color-sampling program.

COLOR To Go samples are mixed byrequest in small Twist-n-Pour™ containers.This try-before-you-buy program includesmore than 550 paint colors from the comprehensiveSherwin-Williams COLOR palette and can also be used for the sampling and approval

of custom color matches.COLOR To Go paint samples take the guesswork out of

choosing the right color by allowing you to see your colorselection in context so you can assess the impact of environ-

mental factors such as natural and artificial light.One sample covers a generous 75 square feet togive you a true representation of the color and giveyour clients confidence in their color selections.

COLOR To Go paint samples are just one more way we help you incorporate color in yourdesigns and sell color to your customers. To requesta COLOR To Go sample in the hue of your choice,

VISUAL SNACK PACKS

THE CURE FOR COLOR BLOCK

Sooner or later, every designer hits a wall —that elusive color combo they can’t seem tofind or that conservative client they just can’tcrack. To overcome the worst cases of colorblock, color expert Joann Eckstut has devel-oped “The Color Palette Primer” (BroadwayBooks, 2005), the latest must-have book tohelp you introduce and sell color to clients.

Featuring more than 800 foolproofpalettes from across the spectrum, Eckstut’s“Primer” uses eight iconic interior illustrationsto show colors in combination, eliminatingthe differences in lighting, flooring, architec-ture and other details that photos cancontain. She also includes sections onunderstanding color and our eyes’ response to it, color testing tips, painting pointers and manufacturer reference sections.

The result is a teaching tool, workbook and reference guide for design professionals,color customers and do-it-yourselfers alike.

“The book provides three different optionsfor each dominant color,” Eckstut says. “So, for example, if you have a client who likes aparticular orange-red, she can see it in threeschemes: one complementary, one analogous,

one monochromatic. … Once people get thebook in their hands, they love leafing throughit finding their favorite combos. It openspeople up to a world of possibility andexperimentation.”

Other home remedies:“The Comfort of Color” by Susan Sargent(Bulfinch Press, 2004)Sargent’s own love affair with color shinesthrough in case studies that transformtentative clients into color visionaries andordinary houses into extraordinary homes. A must-have for colorphiles of any stripe.

“Color: A Course in Mastering the Artof Mixing Colors” by Betty Edwards (Jeremy P. Tarcher, 2004)Using techniques developed in her own color workshops, Edwards teaches artists,designers and the color laity how to see, use, mix and combine colors. Includes more than 125 color images and exercises. n


Paint Quality Bottom Line

Choosing a less expensive paint may seem like

a way to reduce costs on a painting project.

But because labor is by far the biggest line item,

using an inexpensive paint can actually increase

the total cost of the job; lower-quality paints

usually require more coats — and more hours of

labor — to achieve full coverage. Higher-quality

paints also help reduce long-term maintenance

costs because they offer better resistance to

burnishing and stains and require less frequent

repainting, again saving on costly labor.

(Based on field testing of

Sherwin-Williams products)

Paint cost ....................$4,498 (200 gallons @ $22.49/gallon)

Labor cost..................$14,700 (392 hours @ $37.50/hour)

Total cost ..............$19,198

Paint cost ..................$4,280(154 gallons @ $27.79/gallon)

Labor cost ................$11,325(302 hours @ $37.50/hour)

Total cost ..............$15,605

Paint cost ....................$5,542 (154 gallons @ $35.99/gallon)

Labor cost......................$9,188 (245 hours @ $37.50/hour)

Total cost ..............$14,730

Cost to paint interior of 3,500-square-foot new home

PAINT QUALITYBOTTOM LINE

Orange-red bedroom treatment option

from Eckstut’s color primer.


What does it take to expand your palette?According to volunteer “art mom” HeatherPack, you need the five basic colors — red,blue, yellow, black and white — and a bitof imagination.

Last fall, Pack showed a first-grade class in Pleasant Grove, Utah, how to create andname new colors like the pros. She showedthem a Sherwin-Williams COLOR Specifier fandeck and explained that each of the 1,000-plus colors comes from those five basic colorsmixed in different combinations. Then theyput on their smocks and tried their hand atit. The results, Pack says, were amazing. “Youcan create anything in the world with thosefive basic colors. I asked them to think abouthow the colors they created made them feeland to name them.”

Many of the children referenced nature orfamiliar materials – Tin, for example — whileothers invented entirely new words for theircolors, such as “Prylit.” Pack then submittedthe colors and names to Sherwin-Williams to be considered for its next palette.

Pack volunteers at a time when artsfunding has been cut at public schools in Utah. Encouraging her students to create new colors helps her illustrate the importance of art, she says. n

Make your job easier with professional color

selection tools from Sherwin-Williams. Replacement

chips, larger color samples or a fan deck are available

online at www.sherwin-williams.com or call

(800) 382-6567 or e-mail [email protected].

For other color resources, contact your Architectural

Account Executive or call (800) 321-9194 to have

an account executive contact you

Virtual Job Site

FRESH MINDS FRESH COLORS

“It took me four years to paint like Raphael, but a lifetime to paint like a child.”— PABLO PICASSO

Whether you’re a seasoned professional or

a design newbie, the new Sherwin-Williams

Web site can help your interiors look their

best. Now you can test palettes and access

more than 135 years of painting and

decorating expertise, 24 hours a day,

seven days a week, at the new

sherwin-williams.com.

In addition to providing more-intuitive

navigation, expanded content and

improved searchability, the renovated

site offers an interactive Color Visualizer

that enables you to experiment with all

the Sherwin-Williams colors and more than

1,400 coordinated color schemes. This new

tool, along with the 2005 COLOR Forecast

from Sherwin-Williams, which can also be

found on the site, helps you design with all

the hottest colors.

Design professionals also can access:

• Other color tools and resources to make

selection, matching and sampling easier.

• Product information and specifications.

• Case studies, green solutions and

information specifically for designers

and architects.

• A searchable online catalog, an advanced

online store locater, promotions, and more.

Sherwin-Williams account holders can

place orders and make purchases online

as well.

It’s not just about paint. It’s about finding

everything you need to do your job well at

one convenient place that’s always open:

sherwin-williams.com. n

Colors, including Tin, top center, created

by Pleasant Grove, Utah, first-graders.

n the face of it, white walls areas simple and safe as it gets, thelast refuge of the color-phobic.Maybe that’s because whitecarries such reassuring assoc-

iations: freshness, purity, even holiness. Whitepromises a dirt-free, germ-resistant, till-death-do-us-part world (although white weddings arenot traditional in Asia, where the color connotesdeath and mourning). But despite the color’sprofound symbolism in Western culture, it’s the singular visual impact of white that maymake it the strongest design statement of all.

“Think of a yellow school bus, then imagineit white,” says Andrew Oyen, an associate atthe New York City architecture and design firm Ferguson & Shamamian. “Or take ahearse and make it white. By reducing onefactor — color — you suddenly draw attentionto its other elements.”

White’s ability to heighten awareness ofspace, shape and light has made it a perennialfavorite of celebrated architects and designersas diverse as Mario Botta, Gwathmey-Siegel,Rose Tarlow and Richard Meier, who haspraised the hue’s unique ability to intensify our“perception of all of the shades of the rainbow”while still retaining “its absoluteness.”

White’s self-possession, its almost aristocraticindifference to the threat of common dirt,endows it with effortless glamour. Manhattan’strendsetting design store, Troy, recently reissued aline of classic black-and-silver Danish modernistfurniture — this time in white leather. The colorkeeps reinventing itself as a way to simplify andsavor simultaneously, an appealing combinationfor those seeking respite from a hectic worldwithout sacrificing a sense of luxury.

Palette refresherAndrew Flesher, named one of House Beautifulmagazine’s “Next Wave of Designers,” recentlychose a serene, white-on-white palette for hisown Minneapolis loft. After assembling colorsfor clients all day, he says, his gallery-like spaceoffers soothing visual relief: a “blank canvas”that clears his mind.

The usual complaints about white — thatit’s sterile, boring, too hard to maintain — mayhave more to do with limited imaginations than the possibilities of the color itself.

“The sky’s the limit with whites,” enthusesFlesher, principal with Gunkelman FlesherInterior Design. “There are an infinite number of whites, and which one you choose can makeall the difference in the world.”

Think of a yellow school bus, then imagine it white,”says Andrew Oyen. “By reducing one factor — color — you suddenly draw attention to its other elements.”

A deeper look at the many shades of pale

THE WHY OF

B y C H A R L O T T E S T O U D T

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Zeroing in on the perfect white meansfollowing the same rules you’d apply to any colormatch. If you’re dealing with existing features or furnishings, stay within color families. “Makesure the base of your white is congruent withthe other things in the room,” Flesher says. Evenif you’re just painting a ceiling white in a roomwith color on the walls, consider cutting thatwhite with one-fourth of the wall color. “Don’t just use ‘ceiling white,’ ” he cautions.

Sherwin-Williams offers a wide range of whites with different bases. Dover White (SW 6385) achieves its creamy warmth with a touch of yellow, while Navajo White’s (SW 6126) brown tones give it an earthy but clean feeling. Becky Ralich Spak, seniordesigner with Sherwin-Williams’ ColorMarketing and Design Group, loves AlabasterWhite (SW 7008). “It’s a beautiful white, so fresh but with a little softness. It workswonderfully with neutrals, especially khaki andtan.” Antique White (SW 6119) pairs well withstained or weathered wood trims, she adds.

Light makes white What really makes a great white soar or sink is its interaction with both natural andartificial light sources. Daylight conditionsvary locally (from wall to wall in a singleroom) and geographically (compare theintense sunlight of Los Angeles with thesofter light of the Northeast), so “it’s critical to look at the white you’re considering underthe actual lighting,” Flesher says.

Even a color expert like Ralich Spaksometimes has to learn the hard way. “When I was looking at different whites for my bedroom, I wanted something serene butnot clinical,” she recalls. “I selected a crisp, bluewhite. When I tried it out, the bedroom lookedlike the inside of a refrigerator!”

Keep in mind that “the brighter the light,the more the pigment used in the white willshow,” Oyen says. “In Greece, those chalk-white walls become glaring under intensesunlight. In a brightly lit room, warm rosy

white can turn into strawberry ice cream very quickly. But that same rosy white in adarker space might look cozy.”

Finishing touchesAdding a subtle sheen to a flat white is anotherway to achieve an intimate glow. “You can do alot of things with white just by changing thefinish,” says Sheri Thompson, director of theColor Marketing and Design Group. Forexample, Sherwin-Williams offers a pearlizedfinish that can be used as a final coat or ashighlights or striping (applied with a dry roller).She especially likes the effect when used in apowder room or bedroom, but recommendsexperimenting. “It’s a very versatile product.”

And if you’re having trouble finding theright white for the effect you’re after, Sherwin-Williams’ paint experts can custom-blend acolor based on a sample (a piece of fabric, for example). Debbie Insana of the company’sColor Marketing Lab notes that its updatedspectrophotometry system, Sher-Color™, cancreate a “thumbprint” of a desired hue moreaccurately than ever before. The service isavailable in most Sherwin-Williams stores.

There are endless ways to incorporate white’s unique qualities into any designconfiguration. Both Flesher and Oyen love the visual impact of white floors. Thegleaming flooring in Flesher’s loft wasachieved with the help of an industrial epoxy used in airport hangars.

Another choice is to whitewash a wood floor — especially in an older building, such as a converted farmhouse — so that theroughness of the grain shows through thepaint. “By covering a rustic surface with white,you’re mixing two ideas,” Oyen says. “You get asense of texture and freshness simultaneously.”

Don’t these designers ever get sick ofwhite? “I really don’t!” Flesher laughs.

Oyen agrees. “The qualities of freshness,cleanness and timelessness will always makewhite easy to rely on. All that, and it still hasas much subtlety as any other color.” n

There are an infinite number of whites, and the oneyou choose can make all the difference in the world.”

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WHEN TO GO WHITETo complement, rather than

compete with, nature’s palette.

Make the most of a room with a

striking outdoor view. “A white room

picks up all of the color coming in

from outside,” Flesher notes.

To create a feeling of intimacy.

While wood paneling can generate

artificial warmth, it absorbs natural

light. White walls reflect daylight

directly, imbuing an interior with

a cozy glow.

To reclaim the visual possibilities

of a period space.

Oyen remembers clients who

were moving into an old

apartment painted in lavish,

almost overwhelming colors.

“They whitewashed the whole

apartment, which created a sense

of neutrality. Then they gradually

brought back color over time.

Going white first enabled them

to see the space in a new way.”

To show off beautiful moldings.

White showcases the details.

“It becomes about the play of

shadows,” Flesher says.

Designer Andrew Flesher chose

a white-on-white color palette

for his Minneapolis loft.

he idea was to create a visual gem along the shores of LakeChamplain, a vibrant cultural centerpiece on what had beenan industrial waterfront. But designers and architects had an additional goal: They wanted to create a showcase for a greener way of life. ECHO at the Leahy Center for Lake

Champlain in Burlington, Vt., is just such a jewel.The 28,000-square foot science center is the first Vermont project

certified as a Leadership in Energy and Environmental Design (LEED)site. In everything from the paint and building materials to the toilets in the restrooms, ECHO not only teaches the public how to live a moreenvironmentally friendly life, it demonstrates.

ECHO, which stands for Ecology, Culture, History and Opportunity, is dedicated to keeping Lake Champlain pristine. Bren Alvarez, a partnerin Smith-Alvarez-Sienkiewycz Architects, which designed the center, says that a sustainable approach was the only conceivable option for a building on a prominent waterfront site.

The color palette for the project echoes the environmental theme. At the heart of the design was the decision to rely on natural materials,colors and light. Skylights and huge windows let sunlight illuminatemuch of the center, where a freshwater aquarium and a shipwreck

exhibit are the star attractions. Metals are mostlyunpainted. Woods are left with their natural finish. The 18-color paint palette, mostly deep shades of red, gray, blue and black, draws from the natural hues of the surrounding region.

“We were very dedicated to the use of natural color,”Alvarez says. The rich, dense red, for example, evokesnative stone.

Clean air firstBefore colors were chosen, the first requirements forpaints and coatings were that they be water-based and meet strict VOC (volatile organic compound)standards. When Mike Talbot, president of FinishingTouches Painting, won the bid for the ECHO project, heturned to Jim Reid, the Sherwin-Williams representativefor the Vermont area. Sherwin-Williams’ Harmony®Interior Latex Low-Odor Coatings with zero VOCs metthe stringent LEED requirements, while also deliveringhigh performance.

“We used Harmony whenever possible,” Reid says.About 90 percent of the walls were painted with

Harmony, although some surfaces required other coatings. High-trafficareas were sealed with a water-based polyurethane, Sherwin-WilliamsWood Classics, while exposed metal surfaces were protected withSherwin-Williams’ low-VOC Bond Plex Acrylic Coating.

The green message is carried throughout the $14.5 million project,says Katrina Roberts, director of external affairs. Environmentallyfriendly features include fiber-optic day lighting, a solar thermal systemfor water heating, auto-dimming fluorescent lights and recycledmaterials. Even in the restrooms, visitors are presented with environ-mentally friendly choices, such as a button they can push to conservewater when they flush.

ECHO’s design also showcases the natural beauty of its setting. Theopen space is full of light, cut by sharp angles and graceful curves, whilewindows offer views of Lake Champlain and the Adirondack Mountains.

“It’s a thoroughly modern space, yet very Vermont,” Roberts says. “It’s special, without being shiny.” n

A vision in greenForm follows Earth-friendly function at a lakeshore science center in Vermont

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At the heart of the design wasthe decision to rely on naturalmaterials, colors and light.

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MAKING THE CHOICEChoosing “green paint” means making

the environmentally conscious decision

to use a water-based, low- or no-VOC formula.

VOCs (volatile organic compounds) are

petroleum-based solvents that are present in

most conventional paints. Sherwin-Williams’

Harmony® Interior Latex Coatings offers a

zero-VOC, low-odor alternative, while still

delivering a durable finish.

To use them most effectively, consider

the following:

• Low-VOC paints often dry more quickly.

This isn’t a problem for most professionals,

but can be a challenge for amateurs.

• Although Harmony is available in more

than 1,000 colors, some very deep shades

in the ECHO palette were not available,

according to Mike Talbot, president of

Finishing Touches Painting, the Vermont-

based contractor that worked on the ECHO

project. To achieve those deep shades,

Sherwin-Williams ColorAccents Interior

Latex was tinted with Sherwin-Williams

Envirotoner Colorant. ColorAccents is

low-VOC and meets LEED guidelines.

• Earth-friendly coatings were well worth

the effort on the ECHO project, Talbot says,

and green fits well with Vermont, a state

known for its clean air and water. He says

the low-odor, high-performance Harmony

coatings stand on their own merits. “The

products are great; we use them even on

projects that don’t require them.”

Opposite page: Aquarium viewing porthole

Top: Second floor foyer

Bottom: Café entryway

Color Psych

101How does hue affect mood and behavior?

Science can offer clues, but the answers are

rarely black and white

B y A N D R E A G R A Z Z I N I W A L S T R O M

To understand the impact of color on the

human mind, consider the operating room,

says Shashi Caan, chairwoman of the interior

design program at Parsons School of Design.

Dominant colors in an operating theater don’t

come from the décor, she points out. They are

the red of human blood and tissue and the

seafoam green or blue-green of surgical scrubs.

Aesthetics aside, this color combination is

unlikely to change. As long as blood is red,

Caan says, the complementary colors of the

scrubs will serve the important function of

absorbing the surgeon’s visual afterimage

when she briefly looks away from her patient.

If scrubs were, say, white like a doctor’s lab

coat, staring into all that crimson without a

visual respite would nauseate surgeons.ILLU

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Like the surgeon, we are all affected by envi-ronmental color. But unlike in the operatingroom, where the need to maintain sterilitydemands a minimum of architectural color,the colors in most interior environments canbe planned to achieve desired effects. Colorcan be employed to energize, subdue, inspire,aggravate or stimulate.

Of course none of this is news to designprofessionals. Fast-food restaurants have usedappetite-stimulating orange for decades,while (appetite-suppressing) blue restaurantsare as rare as blue moons. Pink, thought todull aggression, has been used to subdue prisoners in correctional institutions – andplayers in opposing teams’ locker rooms.

For years parents heeded the advice ofcolor expert Carlton Wagner, who cautionedagainst painting nurseries yellow, because, he said, the stimulating color would makebabies cry.

You won’t find red walls in your cardiolo-gist’s office, not just because he sees enough ofit in the operating room, but because the colorhas been proven to raise blood pressure. Freudiananalyst Bruno Bettelheim was rumored to havepainted patients blue to quell their anxiety.

Color and contextFor the most part, many of these colorassumptions remain intact today, says LeatriceEiseman, executive director of the PantoneColor Institute. However, she and others caution designers to dig deeper into the science of color psychology and the contextof their projects before applying any paint.

“Anybody can figure out that you wantsoothing colors in bedrooms and more stimu-lating colors in high-activity areas,” says JanetFriedman of Friedman & Shields, a California-and Arizona-based design firm. Though colorpsychology rules are far from universal, shenotes. Just as people have differing color pref-erences, they also have different physical and

psychological reactions to color. Their reactionscan be influenced by everything from genderand age to socioeconomic status and heritage —and can be as individual as fingerprints.

For example, a study conducted at theUniversity of Texas found that women experi-enced more depression in white, gray andbeige offices. Men, meanwhile, reported thesame feelings in orange or purple rooms.

Retailers routinely use color to attractdesired customers. “The more money youpay,” Friedman says, “the more you expect[store design to include] deep soothing col-ors,” that suggest luxury and invite lingering.

Subdued nursing-home color palettes maybe more stereotypical than senior-sensitive,since many seniors are color blind. If they dosee color differences, they might be put off byau courant chartreuse — but nostalgic in thepresence of vintage peach.

Primary colors have long been a favorite in kids’ rooms. Still, Friedman cautions,“If yourchildren tend to be hyperactive, you’re goingto give them a much quieter palette.”

Hispanic interiors are often awash inbright sherbet tones, while many Asians aremost comfortable in understated environ-ments. But ethnic preferences aren’t sostraightforward, Eiseman says. When shewent to China, for example, she was told tosteer clear of yellow, the color of rulers,because it evokes Mao Tse-tung. The Chinesestudents Eiseman met either didn’t rememberor didn’t care. They loved yellow.

Color in fluxColor can be a shape-shifter in differentsettings. Most designers test colors in theirintended environment to anticipate changesthat might occur with different lighting.Colors that everyone loved on a selectionboard can take on a whole new feel in thecontext of a finished room, Friedman notes.The turquoise-and-yellow combination thatlooked merely spunky on sample chips canpositively vibrate in large doses.

Even memory plays a role in human reac-tions to color. Green borrows from nature itsbenevolent effect on most people. But a child

scared by a costumed witch’s green face mayfind the color disturbing even as an adult. Onthe other hand, that response might depend on the particular shade of green. Europeanresearchers concluded that color saturation hasa greater effect than hue. They found mostdeep colors to be equally exciting, while dull colors, no matter the hue, were calming.

The translation from the lab to real life,though, can be complicated and tricky. TheBaker-Miller pink devised for use in prison cells does have an immediate calming effect,Eiseman points out. However, studies conducted after prisoners adapted to the color found that the effects diminished overtime. An Arizona sheriff learned this the hardway. After extended periods in their pink cells,inmates in Maricopa County jails got more,rather than less, agitated, Freidman says. Nowthe prisoners are issued pink underwear.

FIND OUT WHAT THE EXPERTS SAY

“Color & Human Response”by Faber Birren (John Wiley &Sons, Inc., 1978) Physiological andemotional response to color.

“Colors for Your Every Mood”(Capital Books, 1998) and“Pantone’s Guide to CommunicatingWith Color” (Grafix Press, 2000),both by Leatrice Eiseman.Psychological impact of using colorand color combinations in livingenvironments and design projects.

“Color and Meaning: Art, Scienceand Symbolism” by John Gage(University of California Press,2000) Color symbolism in history,literature and psychology.

“Color, Environment & HumanResponse” by Frank H. Mahnke(John Wiley & Sons, Inc., 1996)Psychological and physiologicaleffects of color in the man-madeenvironment.

European researchers concluded that color saturation hasa greater effect than hue. They found most deep colors to be equally

exciting, while dull colors, no matter the hue, to be calming.


As for the yellow embargo on infants’rooms, feel free to break it, Eiseman says.“Wagner just hated yellow,” she says, to theextent that he even denigrated those wholiked the color, calling them “neurotic.” Aftermuch searching, Eiseman hasn’t found anyresearch that supports Wagner’s claims thatthe sunny color bugs babies.

Color is subjectiveIndeed, too much reliance on external justifi-cation troubles Caan, principal with the ShashiCaan Collective. “We need to rely more on intuition,” she says. “Life is messy.” And too

complex to replicate in a lab. “We as designersneed to become not only scientists and psychol-ogists but also rational people and artists.”Thatmeans considering color holistically in the vernac-ular of the people with whom it interacts and thecontext of the place where it will be applied.

Teresa Cox, a St. Paul artist known for her exuberant, color-filled canvases, is a casein point. Cox responds viscerally to color, and her artistic experimentation reinforces herintuition. Her studio, which is also her home,is filled with color: a saturated golden-greenfloor, a deep-indigo wall; not to mention hercolorful paintings everywhere. The tensionbetween all these intense and competinghues would overstimulate many people. ForCox, they are like an elixir. When she oncetried to create an 8-foot canvas in shades ofonly gray, black and white, Cox felt uneasy. “I was literally having cravings for color,” shesays. “I broke out my other paints and startedto add red, which gave me an immediate lift.”

Just as a few brush strokes of scarlet paintgave Cox a jolt of energy, even a tiny dose ofcolor can profoundly affect a design.

Use the wrong color in the wrong place,and “you'll know it,” Friedman says. “Yourteeth will start to itch.”

Get it right, Eiseman says, and “there is a bell that rings.” n

t color saturation hast deep colors to be equally r the hue, to be calming.

WHAT'S YOUR COLOR SIGN? If color psychology is just a little too clinical, maybe it’s time to consult the stars.

Colorstrology plots the numerological vibration of your birthday to give you a color-

coded guide to live by. Were you born in February? If so, your color is uplifting lilac.

June? Radiant gold. October? Peaceful cerulean. The very day you were born has its own

unique color and attendant attributes. And a monthly forecast advises what color to

surround yourself with to improve everything from your home life to your love life.

For a little cosmic inspiration — or just for fun, visit www.colorstrology.com.

B y L A U R A W E X L E R

When interior designer Eileen Devine visited Radhikaand Dimitri Gunasekera’s home in Glen Mills, Pa., the first thing she noticed was that the central foyer offered a great view of the blank white ceilingin the adjoining study. So when the Gunasekeras

asked Devine to decorate the study, the centerpiece of her design planwas a paint treatment for the ceiling.

As designer Cynthia Fisher, who assisted Devine on theproject, says, “So many times a ceiling goes unnoticed.

This was an opportunity to play it up.”Devine, owner of the interior design studio

Devine Designs in Wayne, Pa., often looks tohistory for inspiration. She and Fisher

envisioned a symmetrical design featuringa rich palette of colors that would imbue

the room with classical formality. But she also wanted to incorporate

elements that echoed theGunasekeras’ Sri Lankan ancestry.

Luckily, painter William Gordon,who has worked with Devine foryears, had traveled to India andphotographed the interior of theTaj Mahal. He pulled the photosfrom his file, and together, he and Devine created the design:

a central blue medallion — oroculus — meant to evoke the sky,

surrounded by smaller medallionsand corner pieces painted in rose,

which contain vines and flowers.Part of what’s striking about the

mural is that it appears to date from thesame historical period as the study’s antique

furnishings. Gordon “aged” the colors bypainting the base coat with Sherwin- Williams

Cashmere® flat enamel, which offers a flat finish with a slight sheen, then covering it with Sherwin-Williams

Illusions® Glaze tinted various shades.These days, the view of the study’s ceiling from the Gunasekeras’

foyer isn’t a blank white canvas, but a rich classical painting.“A painted ceiling is high impact,” Devine says. “In a room that lacks

interesting architectural details, it’s a way of adding interest.” n


Crowning gloryA lavishly painted ceiling brings regal presence to a suburban study

Sheri Thompson, director of

Sherwin-Williams’ Color

Marketing and Design Group,

says that homeowners are willing

to do more decoratively with

ceilings because they see them as

the fifth wall to a room. With tray

ceilings and other variations

becoming more common in new

homes, the ceiling is a canvas

waiting to be transformed by

decorative painting. But ceilings

do pose unique challenges:

Design. Ceiling design is a

technical process and requires

understanding of layout,

composition, perspective and

graphic arts, Eileen Devine says.

“It’s twice as hard to paint a

ceiling as a wall,” painter William

Gordon says. Keep that in mind

when creating the design —

detail equals dollars.

Color. Devine always buys

small quantities of paint and

experiments on the ceiling,

then evaluates it based on the

light. “It’s difficult to tell

anything without doing that

because it’s a horizontal plane

and you’re looking up at it,”

Devine says. “Once you’ve

completed the design and

composition, you need to figure

out which elements need to

stand out. Those receive a

higher color value.”

Lighting. “In a dark room, you’ll

need a light fixture that provides

enough uplight to illuminate the

ceiling mural,” Devine says.

Forget recessed lighting!

Furniture placement. “If your

ceiling design is symmetrical,

with a central medallion, the

furniture has to be placed

accordingly,” Devine says. In the

study, the oval desk was placed

directly under the medallion.

Ceiling height. “In a two-story

space, you might use more-

intense, richer colors to make

it feel more cozy,” Devine says.

“For a room with a lower ceiling,

intense colors could make you

feel closed in.”

CEILING SAVVY

PHO

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Palette

WALLS

Pewter (SW 6208)

TRIM

Oyster Bay (SW 6206)

CEILING

Sea Salt (SW 6204)

Harmonic (SW 6136)

Open Seas (SW 6500)

Decorous Amber (SW 0007)

Renwick Olive (SW 2815)


You don’t have to be an environmental activist to love the latest insustainable fibers. From the runway to Saks, fashion is embracinggreen design materials, and the best-dressed interiors are followingsuit. It’s as much about being hip as about hugging trees, according to Robyn Griggs Lawrence, editor in chief of Natural Home and Gardenmagazine. “It’s an aesthetic that people are moving toward … thenatural look rather than a slick look.”

Women’s fashion apparel is the fastest-growing segment of organic-fiber product sales, but designers of all disciplines are demanding moreand better organic fabrics, and they’re getting them — sometimes fromunexpected places.

How about some corn with your carpet? From Shaw Industries comes carpet made of Ingeo™ — a fiber derived from corn husks and leaves. It looks a lot like sisal (and costs about the same), and is also biodegradable, recyclable and washable.

Aside from being healthy for the environment, newfabrics from the East promise health benefits forpeople too. Itoi Textile of Japan makes funky sasawashi

fabric out of herbs and paper to add a little eco-friendly spice to beddingand bath textiles. It is highly absorbant as well as antibacterial andhypoallergenic. As a bonus, minerals in the fiber may help cure what

ails you; coral comforters and futons fromShowa Nishikawa produce negative ionsto induce deep sleep and reduce static.

Pick a bale of cottonThe old standbys are only getting better; andwith increasing demand, costs for some formerlyspendy green products are coming down. “Organic cotton and organiclinen are becoming more accessible,” Griggs Lawrence says. Cotton,usually heavily treated with pesticides, is uncommonly soft andluxurious without all that bug spray.

And gone are the granola colors (that is, unless you prefer them). Some Gaiam textiles feature low-impact plant dyes from such earthyand renewable sources as indigo and turmeric.

These aren’t your Earth Mother’s fabricsNo longer just the stuff of those blocky, rough tunics sold at folkconcerts, the newest hemps are soft enough to serve as baby blankets.Brushing techniques soften the coarsest plant fibers. And, of course,hemp, with its antibacterial properties, still makes for a great rug. As do environmentally astute fibers such as sisal, coir, jute and wool. And don’t forget busy, multitasking bamboo, which has expanded from furniture and flooring to couch cushions and curtains. n

G O I N G G R E E N

Look for theGreenSmart logo

Making Earth-friendly paint

choices just got easier. In

response to the growing demand

for green building products,

Sherwin-Williams has introduced

a new designation (GreenSmart)

for its environmentally preferred

coatings. The GreenSmart logo

indicates that a coating meets

the following criteria: long-term

durability; the highest indoor

air-quality ratings with low VOC

(volatile organic compounds) and

low odor; and it meets or exceeds

the GS-11 criteria used in

Leadership in Energy and

Environmental Design

(LEED) certified buildings.

Currently two Sherwin-

Williams products meet

the demanding criteria – new

Duration Home™ Interior Latex

and Harmony® Interior Latex

Low- Odor Coatings. Duration

Home offers a low-VOC

water-based formula, made

with technology that prevents

stains from penetrating,

ensuring easy washability

without harsh chemicals.

Harmony Interior Latex

Coatings offer a high-hide

durable finish, plus zero VOC

and low odor, allowing

immediate occupancy of

newly painted spaces. For

more information about the

GreenSmart designation, visit

www.sherwin-williams.com. n

B y A N D R E A G R A Z Z I N I W A L S T R O M

HIP harvest

INDUSTRY NEWS

The newest green fibers are coming in from the fields

Green efforts reap awards

The U.S. General Services Administration

recently awarded Sherwin-Williams its

“Most Environmentally Friendly

Contractor” award for its ongoing

commitment to research and development

of products that reduce the amount of

waste and chemicals released into the

environment. Several Sherwin-Williams

products meet or exceed the stringent

criteria created by the U.S. Green Building

Council. The GSA also

awarded Sherwin-Williams

its “Director’s Award” in

recognition of its

cooperation, customer

service and commitment to

providing the best value. n


Aroom doesn’t needfour walls and aceiling to need someprofessional help. Asgardens and patios

are increasingly being viewed as“outdoor rooms,” design profes-sionals are playing a bigger role in choosing elements andcreating color schemes.

Outdoor color should be ascarefully thought-out as indoorcolor, says Debra Prinzing, amaster gardener and author of “The Abundant Garden: ACelebration of Color, Texture andBlooms” (Cold Springs Press, 2005).“Color is the easiest and leastexpensive way to make a gardenpop,” she notes.

Pick a palette. Then stick to it. “It takes some restraint,” Prinzingsays. Choose a monochromatic,analogous or complementarycolor palette, just as you wouldindoors, then limit yourself toplants and other elements thatfit that palette.

Create a mood. A garden cancreate a feeling of serenity or oneof excitement, depending on howcolor is used, Prinzing says. For acalming garden, choose flowersand other plants with similar hues,such as soft blues, periwinkles andlavenders. For a high-energygarden, combine high-contrastcolors, such as hot pinks, brightoranges and sunny yellows.

Light. The eye sees color in thegarden differently depending onthe quality of the natural light. In Seattle, where Prinzing lives,

the skies are often gray. Brightcolors in the garden can offsetthat and work beautifully againsta gray canvas. In the Southwestdesert, the intense light canobliterate color, making shapesmuch more important becausemany plants appear as silhouettes.Designers can make the most ofnatural light by positioninggarden structures, such as lattice,so the sun casts intriguing shadows.

Focal points. A landscape needsthem just as a room does, whetherit’s a lake view, a specimen tree or a piece of sculpture. Color cancreate a focal point. One garden inPrinzing’s book featured a pair ofAdirondack chairs, painted hot pink,as a beckoning destination. “Youneed something to draw the eyeand lead people through the space.”

Foliage. Leaves last longer thanflowers, many of which bloom for only a few weeks. But withfoliage plants available in deeppurples, silvers and golds, youwon’t miss the flowers. Also lookfor variegated (green-and-white-leaved) plants. “Every popularplant is available in a variegatedcultivar,” Prinzing notes.

Exercise your green thumb. Youdon’t have to know a thing abouthorticulture to create a containergarden, Prinzing says. Designersknow how to use cut flowers tocreate an arrangement, and theycan use that same expertise tocreate beautiful pots. Don’t worryabout mixing sun and shadeplants, or about spacing, she says.“Containers are so forgiving.” n

B y K I M PA L M E R


Design tips for outdoor rooms

BLOOMING color

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What does color mean to you? People are afraid of color, but I believe in it. I’m glad people are embracing it more now,and that includes myself. I used to wear a lotof black. Now I wear much more color …yellow, jade green, teal blue and lots of white.

You’ve dressed a lot of famous womenin colors that we don’t usually seethem wearing. How do you encouragepeople to try a color that is outsidetheir comfort zone? I like to bring in tons of gowns, so there’s anelement of surprise, something fresh for thecustomer to experience. I want her to move out of the box. Whatever makes the person feel most alive is the color we go with.

Are there do’s and don’ts for wearingcolor on the red carpet?Stay away from black if you want to standout. The exception was Ziyi Zhang, who woremy black dress to the Oscars. But it had a lace bodice, over nude, so you saw the lacepattern. It didn’t read as a boring black dress.

If you could dress any celebrity in any color, who would it be?I would put Nicole Kidman in a beautiful tulle dress in cotton-candy pink. She has such gorgeous skin!

We’re starting to see more color in bridal fashion, and you’re one of thedesigners who has pushed the envelope.What inspired you in that direction? Starting my ready-to-wear line infused more

fashion into my bridal collection. I like bursts of color in the sash — like sable or amethyst.It really pulls a wedding together and makes it more special by personalizing the look.

Is the spectrum continuing to open up for bridal gowns, or is the pendulumswinging back to white and ivory?Color is still important for weddings, butnot in the whole gown. The color is in theaccents. For the gown, I don’t like pure white. I prefer silk whites and light ivories. I also amdrawn to latté colors that are a little warmer.

What’s your favorite era in color?The 1930s. I like the glamour and that vintagedusty-rose color.

Where do you find color inspiration?I travel a lot, and my trips inspire me. When Iwas in Paris, I picked up a gorgeous coffee-tablebook on the jewels of the Maharaja, and I wasvery taken with it … the dramatic colors and thebeading. That inspired my fall line.

What colors are we going to be seeingmore of in fashion?For fall, we’ll be seeing a lot of amethysts,rusts, coppers and browns … also a beautifulolive green.

What color mistakes do peoplecommonly make? People should not follow color trends. Even if it’s a hot color, if it doesn’t look good on you,you shouldn’t wear it. Look for colors thathighlight your skin tone. You could be startingyour own trend.

What colors do you surround yourselfwith at home?I have light taupes on the walls, and a lotof pale powder blues and whites. Calmingcolors. My home is my sanctuary. I work with so many colors that I need a clean palettewhen I come home.

What’s a color risk you’ve takenrecently?I experimented with yellow in my spring ready-to-wear collection. I wasn’t sure howpeople would embrace it. If you have the right tan and the right attitude, it works. n

For more information, visit www.moniquelhuillier.com.


Fashion forceA white-hot designer marries vibrant color with celebrity glamour

Color is a passion for Monique Lhuillier, declared “young Hollywood’s hottest designer”byNewsweek. She dressed Diane Lane in jade for this year’s Golden Globes, Christina Aguilera in pale blue for the Oscars and Teri Hatcher in pink for the TV Land Awards. But the Lhuillier dress that really caught the spotlight was Britney Spears’white lace bridal gown.

C O L O R S P Y

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Color is still

important for

weddings, but

not in the whole

gown. The color

is in the accents.

“

”

L I V I N G I N C O L O R

1. Toasty

West Elm is known

for its affordable

furnishings designed

for the first homes

of style-conscious

professionals. The

hand-blown cased

glass pendant lamps,

available in latté-

friendly colors, and

table lamps with

geometric shades,

are naturals as

neutral accents.

www.westelm.com

2. Cozy

Modern design meets

traditional rug-weaving

methods. Emma

Gardner’s rugs are

created from hand-

drawn designs, which

are then painted in

gouache or enhanced

or colored by computer.

Designs and colors can

be customized for

individual projects.

www.emmagardnerdesign.com

3. Wavy

Douglas fir “tiles” cut

from a single reclaimed

100-year-old beam are

ordered and numbered

to create a burnished

wave pattern on this

table top. Custom

furniture maker Willie

Willette Works designs

and builds both single

pieces and commercial

interiors.

www.williewilletteworks.com

W H O L E L O T T A L A T T E


Latté (SW 6108) is one of the most popular Sherwin-Williams shade samples requested. And why not? It’s a warm neutral thatcomplements just about any color scheme or decorating style, from traditional to modern. Check out these coordinating products.

2

1

3

SW 6108

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F I N A L T O U C H

GLOW MOTION Las Vegas never sleeps, and that’s true for its lights as well as its nightlife. The unmistakable Vegas

landscape — a kaleidoscope of neon glowing against a dark desert sky — is the result of millions of electrons passing through neon

gas to stimulate its molecules, causing them to radiate light. One look at the famed strip and you’d think neon comes in every hue

imaginable. But neon gas itself is only one color: red. The gas is combined with other elements inside individually colored glass

tubing to create the many shades of neon seen on casinos, clubs and restaurants. Neon gas inside clear, colorless glass creates a red

sign. Add a yellow glass tube, and you get orange. Mix in some helium and argon, and the gas appears blue. Neon sign-makers can

use various combinations to produce more than 150 different colors. Good thing: A monochromatic Vegas wouldn’t be Vegas at all.

PRSTD STDUS Postage

PAIDCenveo

Sherwin-Williams400 1st Ave. N., Ste. 540Minneapolis, MN 55401

It’s time to explore color beyond the color chip. And Sherwin-Williams can help. With our fast, accurateexclusive Sher-Color™ computerized matching system, we can give you virtually any hue in the world.Whether you find it out in nature or hidden away in an office drawer. And with our online Color Visualizerand COLOR To Go™ paint sampling system, you can show your clients exactly what to expect for addedcolor confidence. In other words, when you work with Sherwin-Williams, getting the perfect color reallyis a walk in the park. To learn more, see your Sherwin-Williams Architectural Account Executive or callour Architect & Designer Answerline at 1-800-321-8194.

IF THE COLOR’S OUT THERE, WE CAN HELP YOU BRING IT IN.

sherwin-williams.com©2005 The Sherwin-Williams Company

ACCOUNTING

LOBBY

CEO’S OFFICE

STIR 2.2 2005

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