Paint color sample swatches can be overwhelming. Take time to create a color plan and choosing all of your paint, textile and surface colors will be easier.

There is nothing wrong with white walls. Let’s just get that out there. Though white isn’t a “color” on the color wheel, it certainly is a paint color, and one that many people love. But if the only reason you have white walls is because you’re afraid of color, you may have a touch of chromophobia or “fear of colors”.

Or maybe you just have a fear of making expensive mistakes with paint color. That’s more often the case.

Although paint is often touted as a cheap and easy interior design fix, in reality painting your home can be a big and messy project. With paint prices between $20 – $60 per gallon, plus the cost of application, color mistakes add up fast.

And now is where I usually say, “Which is why you need a color consultant.”  But not everybody can afford or find the right color consultant.

So, what should you do if  you are determined to create your own paint color plan? Here are some color choosing tips if you’re looking to freshen a room with color:

• Take time collecting samples of colors you love. Look outside of paint store swatches to the ordinary things in your life that you enjoy. The color of your morning latte may be your best soothing warm brown color.
• Assemble your samples of the colors you love with samples of the colors in your room that you have to live with, like that ugly tile or flooring you can’t afford to replace.
• Now, using a paint store fan deck, look for a way to bridge the colors you love with the colors you are stuck with. A “bridge” color is my way to describe a color that is a version of what you love, that will work with what you have.
• Give yourself time with your color choices before you ask for anyone elses opinion.
• Life is short, live with the colors you love.  (And that includes white!)

www.CristinaAcosta.com

I mixed acrylic paint with water to create the neutral color of these suede shoes. The original suede was a light pearl gray. Notice how the paint settled after a few days to reveal the amount of identifiable hues in the taupe color. Shaking the jar resulted in the neutral shoe color of these oxfords. See the note below for directions.

Tan, taupe, beige, mushroom, sandstone, putty and stone are just a few of the names for light neutral colors. Think of a neutral color and if you are new to color mixing, you might think of a neutral as brown mixed with white. And you can get a typical version of a neutral from that combination.

But here’s the thing about a neutral color. Neutrals can be the result of a surprising blend of colors. And a “good” neutral, one that works with or complements a wide variety of colors often has some distinct colors as part of the mix.

The photo of the suede shoes with a bottle of paint shows you the neutral paint color I obtained after mixing together a variety of colors then painting them on the suede.  After painting the shoes I saved the remaining color in a bottle. A few days later I was surprised to see how much the colors had separated within the water mixture. Note the small layers of red and gold at the bottom, then the majority of green-brown earth tone with a blue layer topped by a beautiful light bright layer of sky blue.

This example showing the color ingredients behind a neutral paint color is a visual explanation of the mixture of colors that can be present in a lovely neutral. This quality is especially important for neutral wall paint colors as they are exposed to different levels and colors of light throughout the day and their base colors can become more or less prominent depending upon the light quality.

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Directions to Color Suede Shoes at Home

Note: Embrace the randomness of this process and hope you like the result (or learn to) as it is PERMANENT. You may get permanent water stains or blossoms (as some watercolorists call them) on your suede item.

You will need:

• Artists acrylic paints (in the tube or jar)
• palette knife (for mixing paint)
• stir stick or kitchen whisk (for mixing it with the water)
• water
• painters tape to mask off areas you don’t want to paint (find this in any hardware store)
• a large soft brush and a fan brush for applying the color (or whichever type of brush you prefer)
• Note: Acrylic paint colors I used are: White, Cadmium Red Light, Thalo Red, Ultramarine Blue, Yellow Ochre, Quinacridone Gold, Thalo green, Burnt Sienna
• New (or very clean) light-colored suede item.
• Hairdryer to dry shoes.

What to do:

• Use the painters tape to cover and protect any areas of the suede shoes you don’t want to paint. This only works on things like the soles or hardware. The color will bleed under the tape if you try to section off parts of the suede.
• Mix together a color you like. I began with artists acrylic paint, creating about 3 or 4 tablespoons of color. I mixed the final color with about 20 ounces of water.
• Note: when mixing the color, keep in your mind the color you are covering as it will effect the outcome. Do a small test if possible.
• Saturate your brush with the watery color mixture and apply from one end of the suede item to another. BE SURE to not be too wet as this may cause watermarks. Too dry and the color won’t be even on the item. Applying the color is tricky. The idea is to not go back and retouch an area, but to get all of the color down the first time and dry it all at the same time.
• NOTE: The paint MUST be very watery to not negatively effect the texture of the suede. Too little water will result in smoothing out the texture of the suede.

That’s it!! Hope it all works out. I’d love to hear from anyone who tries this.

www.CristinaAcosta.com

Are Blue and Green BFFs?

The other day I was listening to the streaming radio station Kink FM out of Portland, Oregon  and heard an ad for Northwest Natural Gas. It’s official. NW Natural Gas company has co-opted the color blue, even renaming natural gas “Blue”.  And the characteristics they’ve assigned “Blue” are many. According to the NW Natural website “Blue. . .Hates Wasting Energy . . . .. Blue is Reliable . .  Blue Despises High Bills. .  (and).  . Blue and Green are friends.”

Is blue now a responsible, conservative color that also happens to be the environmental movement’s new BFF? The gas company would like us to think so. Especially now that  the marketing kudos for environmental sensitivity are a big positive in the world of commerce.

It’s nothing new for a company to use color to relate both subliminal and overt product and marketing ideas to their potential and repeat customers. It’s a smart thing to do. Ask someone in a roomful of people to describe the color Coca-cola red and you’ll soon find somebody who can. Color and marketing are natural partners.

But a color has more than one personality, despite any one expert or company’s declarations. And when a company uses mainly color to define itself and it’s product, they are also declaring themselves the most pertinent and contemporary interpreters of that color.

Taking that position with a product or a color invites comparisons. If a product is clearly a greater good, comparisons are welcome. But natural gas isn’t one of those products. Like all petrochemical energy sources, there are defined environmental disadvantages to natural gas. Those product disadvantages don’t go away with a re-branding, regardless of the color assigned to it or any of the attributes that color may possess.

Calling natural gas the new “blue” doesn’t turn it green (or make it green’s new BFF) no matter how many times anybody says it. And when the gas company insists that it does, their efforts to tint the green movement into a shade that they wash their product with takes green-washing to a new low.

www.CristinaAcosta.com

Traveling to Germany and not knowing German, I wondered how easy it would be to read the signs and get around. I laughed when I saw this sign my first day in Heidenheim, Germany. The language of color spoken internationally! Photo credit: ©Cristina Acosta

Color communicates. Any color expert, designer or artist will agree with that statement. But ask those creative types what exactly a color is communicating and the answers you get may have surprisingly little in common.

Here’s why: Color is a language that continually evolves with the cultures that contribute the shades and tones of meaning each of us sees. And, each individual brings their personal biases and perceptions to the mix, further complicating things.

Yes, you can open most any home decor magazine and read at least one color experts’ opinion based on a study about the calming effects of green – or beige – or . . . whatever the next color may be. But the truth is, the focus group that decides green is calming one year, may decide that mauve is calming next year. And, one more thing to keep in mind,  the experience of an individual and the particular mix of individuals in a focus group is always changing.

Consequently, the meaning of a color is a moving target. One person’s irritating red is another person’s energizing red. It’s all about time and place, people and perception.

So what do you do with this information when you’re standing in the paint store looking for an idea or some advice? Here’s a few tips:

• The first thing to do is to choose a group of colors you love that you think might work for the project. For example – If you’re choosing exterior home colors and are looking for 3 colors, pick at least a dozen that you think will work.

• Then (ideally, take some time with this step) clip the color samples into individual pieces and spread them on the table. Start choosing your favorites.

• When you’ve narrowed it down to at least 4 choices, THEN start choosing where the colors go. Such as this color for the body, this for the trim, this for the gable trim, etc.

Remember that when you are choosing colors, you are bringing a lifetime of experience to the process. Respect that first with a little exploration, then listen to the advice you get from friends and professionals. You’ll have a better feel for the color choices that are right for you.

www.CristinaAcosta.com

Walking through the streets of Bordeaux, France I saw these beautiful faded purple doors. Against the grays and browns of the buildings and the weather that day, the violet color brought a subtle and rich dimension to the street view. Photo: Cristina Acosta

Inspired by the colors in the landscape of urban city streets I've been exploring the colors by painting textiles. The sheer matte quality of the silk is the perfect substrate to convey the feeling of the colors from the street in Bordeaux, France. My intent was not to replicate the colors visually as much as to convey the sensations I received while walking through the colors in that landscape. Photo credit: Cristina Acosta

I’ve been thinking a lot about color and culture, and have been exploring that theme in my fine art for many years.

The landscape around us effects how we perceive color. The geography of a place along with the cycle of seasons as well as the weather and light  combine with the presence or absence of human culture to create the colors of a place.

In my  paintings and drawings other concerns (like image or texture) overtake this concept, so I decided to work with these color ideas in textiles.

Painting silk scarves for myself or friends is a relaxing way for me to play with color stories.  (And I have something fun to wear when I’m done!) This week I painted this silk scarf directly from the inspiration of some recent travels. I’ve been fortunate to be able to travel with my teenage daughter, Isabella Barna during her fencing competition season. She competed in a few fencing World Cups, so we both enjoyed traveling to both small and large towns in Europe for the events.

The many changes in landscape I’ve experienced this year contrast in my mind, mixing with the sensations of place. Each memory has a different palette of colors and values. Playing with these memories and translating them to visual ideas allows me to re-live the sensations of the memories as I create visual structure around them. It’s sort of like selecting photos for a scrapbook page, I select among the thoughts and feelings of memory for the creative expression.

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Synesthesia is a condition in the brain processes that describes when the brain  mixes up the senses – taste, touch, smell, hearing and vision so that the person with synesthesia may experience a taste as a shape (for example) or a number as a color.

Though modern scientists first documented synesthesia in the 1880′s it wasn’t until recently with the aid of brain scans and other technology, that science has found a way to ascertain that synesthesia is not just a gift for metaphor, but is an actual brain condition.

In the article, Hearing Color, Tasting Shapes, by Vilayanur S. Ramachandran and Edward M. Hubbard, published by Scientific American, the authors discuss the phenonmenon of synesthesia and explain the possible reasons for the condition.

“Our insights into the neurological basis of synesthesia could help explain some of the creativity of painters, poets and novelists. According to one study, the condition is seven times as common in creative people as in the general population. . . . In addition to clarifying why artists might be prone to experiencing synesthesia, our research suggests that we all have some capacity for it and that this trait may have set the stage for the evolution of abstraction–an ability at which humans excel.”

Blue and yellow together create green. In this progression of colors from the master bedroom wall through the bathroom, blue and gold give the sensation of cradling the green. It's a comforting yet interesting arrangement of color.

When I walk through a client’s home, the colors, shapes and textures speak to me kinesthetically  as well as visually. And sometimes I get the sensation of a taste or sound, depending upon how the colors in the room interact. I never gave much thought to this ability until I read Ramachandran and Hubbard’s work. Then a way of experiencing the world that I had considered a personal idiosyncrasy  was suddenly something with a name that I now know is experienced by others.

When science “proves” something that artists have been perceiving, the necessity of the arts in education is even more apparent to me. People who have neurological wiring that gives them problems or  idiosyncrasies  such as dyslexia or synesthesia don’t often fit into the standard learning and teaching styles enforced in the average school. Including the arts in school curriculum allows these people to succeed and flourish and maybe someday, even become artists of one kind or another.

www.CristinaAcosta.com

Cross of marigold petals adorns this grave in the cemetery in the town of Ocotopec, Mexico. I took this photo with the scent of copal incense threading through the air in smokey streaks mixing with the sounds of mariachi musicians. Yellow flowers are for the mature souls of adults.

The mystery of life and death and spirit, the reality of change and the beauty of everything is a defining aspect of Mexican culture. Throughout Mexico and most anywhere a significant number of Mexican-Americans live, altars adorn public & private spaces. This spirituality with ancient roots is most visible during the Dia de los Muertos (Day of the Dead) festival  November 1st and 2nd.

Dia de los Muertos  (the Day of the Dead) is celebrated in Mexico and by Mexican Americans living in the U.S. As a holy day it is connected to the Catholic holy day All Saints’ Day, but is actually much older and pre-dates the Aztec. The celebration is spread through various other countries in Central and South America.

I saw this woman in the market in Cuernavaca. She carries the flowers for Dia de los Muertos altars. White is for the souls of deceased children.

Through the month of October, people prepare for Dia de los Muertos by preparing altars (ofrendas) to honor the dead. Depending upon the family or community traditions, altars can be elaborate rooms with effigies of the deceased surrounded by beauty, food and candles, or simple altars with a picture and a few items.

Brilliant colors and stark value contrasts between dark and light with the addition of warm earthen tones make up the complex palette of colors associated the Mexican Celebration of Dia de los Muertos (the Day of the Dead). Not only are these colors seen among the flowers and decorations that make up the various ofrendas  (altars), foods and decor that are part of the celebration, the colors metaphorically and symbolically mirror the mystical underpinnings of the Dia de los Muertos celebration.

Because the veil between the living and the spirit world thins at this time of year, the colors of the Hispanic celebration of the Day of the Dead are both strong in hue and in contrast. Bridging those

Images of bones emerge from the warm skintone browns of this traditional Day of the Dead bread proffered by a street vendor in Ocotopec. Called Pan de Muerte (Bread of the Dead), the bread is sweet without being overwhelmingly rich.

strong colors and values is the warm brown color of pan de muerte, the traditional bread of Dia de los Muertos. Motifs of crossed bones emerge from small loaves the warm color of brown skin. What a beautiful metaphor and visual symbol of the ephemeral quality of life expressed through color meanings and symbology.

I didn’t grow up with the actual Dia de los Muertos celebration. Instead, when I was under the age of 10 my family celebrated a unique combination of All Saints Day and Halloween with a piñata (a Mexican tradition of a paper effigy of an animal or object that is stuffed with candy and then destroyed by children to release the treats). It was the type of culturally morphed celebration that fit into the surrounding neighborhood of Palos Verdes, California during the 60′s and 70′s.

Since then I’ve explored how the holiday is celebrated in Mexico and incorporated some of those ideas into my personal life. Being that I love making retablos (altars) with images of the divine feminine, such as the Guadalupe and Conquistadora, and have those retablos all over my house, decorating an altar for the season comes naturally.

For me personally, the time of Dia de los Muertos begins in October and continues to about mid-November. This is a beautiful season and  a time that I  specifically ask my ancestors and deceased friends and relatives to visit me with their gifts of wisdom and love. I usually get some sort of revelation or enriching experience during this time that especially helps me for the ensuing year.

Here are some guidelines to the symbolism of the items on a Dia de los Muertos ofrenda (altar):

Composition of a Dia de los Muertos Ofrenda (altar of offerings):

• Water – Source of Life
• Salt – Purification
  

  An effigy of the deceased (in photo) made of loofas draped in her clothing is the centerpiece of this huge ofrenda (altar) taking up an entire bedroom. I visited this home in Ocotopec and the family allowed this photo. Note the beauty and care put into every aspect of the decorations and offerings.

• Candle or light – Eternal love
• Copal or incense Offering to the gods -  Transmits prayers
• Flowers — the yellow flowers represent the sun, wealth and light to help souls find their way. The white flowers represent purity and often represent children.
• Mat, bed, table — a symbolic place of rest for souls. This is often the surface on which the altar rests.
• Toys — for young souls.
• Bread, tamales — sustenance
• The neck and the canes (bones) in the form of a wheel — this is the symbol on the Pan de Muerto, the traditional bread for Dia de los Muertos
• Items that pleased the deceased person and usually a photo, sometimes an effigy draped in
  

  Candy skulls made of sugar or chocolate are traditional food items for the Dia de los Muertos altar. I took this photo detail of the food offering at a public ofrenda (altar) in Tpotzlan, Mexico.

  the deceased’s clothing.

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The gold paint color reminds me of the sand of the beach near my childhood home. The addition of blue and green create a graphic triad of landscape colors in this stairwell area.

Visualize “fire engine red” and the color red rushes to mind with or without a vision of the wheels. It’s the same for “grass green”, “sky blue” or “chocolate brown”. Seeing color is such a natural condition that we often don’t question why we see colors and we presume that everybody sees the same colors.

Though most of us do see the same colors, some people can’t. Men (about 5-8% and about 1% in women) with congenital color-blindness may not even know the exact extent of their color blindness until professionally tested. And seeing the same colors is no guarantee towards agreement.

When I was a painting student in art school my professor asked me to randomly choose “Coca-Cola red” from a group of red color chips. I confidently picked a red, sure that it matched my memory of the color. When the professor produced a bottle of Coke and had me put my sample up to the logo, I was surprised to find my choice, though close, was not completely accurate.

Since then, decades of working with color and honing my color sense have increased my understanding of how precise the eye can be. For years I’ve mixed color as an artist, continually refining my experience with both the components of a color and how it appears next to other colors. I’ve also realized that my memories of  colors are only broadly accurate.

The color of the beach sand near my childhood home in Playa del Rey, California, is golder to me in my memories than the actual vial of sand from that beach that I collected for a keepsake. That’s because the expanse of sand and the light of the day make the color experience.

So, when I incorporated the gold of the sand into my home interior design color plan I went with the color that best bridged my color memories, the vial of beach sand  and the reality of my living room walls. I compromised between the color I held in my mind and what my  brain and eyes were telling me.

Learning about the neuroscience behind how the brain and the eyes  see color is the topic of Mark Changizi’s book,  The Vision Revolution. It’s a wonderful book from a man who describes himself as a  “theoretical neuroscientist”. Even if your interest in color is currently limited to what color to paint your living room accent wall, you’ll find that Changizi’s book will inform and enlighten your understanding of how the mind works and that how you physiologically perceive color affects your entire life.

www.CristinaAcosta.com Note: I have an affiliate arrangement with Amazon.com. Clicking on the icon for Changizi’s book and purchasing it through this link will result in a small financial support of this blog.

White comes in many colors from warm beige whites to cool blue whites.

Crisp and fresh or harsh and sterile, a laundry line of contradictory meanings flap around the color white. How we understand color is based on who and where we are. And the meaning color has for us can change along with changes in our lives and our location. White on a tropical island is a very different experience from  white (as snow) covering a northern winter landscape.

I was looking at the color white  last week and realized that for me, white had became a symbol of global interconnection. How did a color I see every day suddenly have a new meaning? Here’s what happened.

Last week an early season snow of over 5 inches fell around my home in Oregon. As the snow piled up (and the shock wore off!) I noticed a strange thing about the color of the snow. It was tinged a warm white. At first the warm white color of the snow wasn’t noticeable, but as the layer of stained snow thickened, it was obvious that something unusual had happened.

Poking my fingers into the top layer of snow, I could remove that soil tinged beige layer of snow to reveal the cold blue-white layer of snow beneath that had fallen earlier as part of the same storm. It was a beautiful contrast of whites.

The next day the news reported that a dust storm in the neighboring state of Washington near Moses Lake over 300 miles away from my  home in Bend, Oregon had tinged the snowfall with the warm red topsoil from Eastern Washington farm lands.

Mother Nature was giving us a lesson in whites along with a reminder that the borders we humans put around our cities, states, territories and countries are invisible to her. During those moments I spent looking at the subtly colored layers of white snow, white became my new “green”.

The idea of white as a unifying color isn’t new. The color white is regularly used in home decor as an interior or exterior paint trim color that repeats often enough around a home that it unifies a variety of other colors. White is so popular in architecture that some paint companies such as Benjamin Moore, Pittsburgh Paints and Sherwin Williams have over one hundred whites in their paint lines to choose from.

White is everywhere from underwear to outerwear. It’s in most everybody’s closet and has been for decades. White dress shirts have been a mainstay of men’s business fashion for over a century. From baby diapers to bed sheets, the color white in some variation is one color I would bet most people on the planet have. Billions of people and the color white. The meanings will keep on.

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Slight variations of warm taupe grays and cool blue grays aren't enough to make this "design" interesting. The monochromatic color use of the color gray along with the subtle differences in size and shape of the stones is so visually "quiet" it's boring.

Good design snakes our attention. Here’s why. Looking at too much of the same thing can turn a good thing into nothing you’d notice or want to look at. Too much of the same thing sends our brain to sleep. Maybe not literally, but our attention drifts and we’re on to the next thing.

Our human brains are on the alert for differences. That alertness informs us when the forest we’re walking through isn’t just grass and trees, but now includes a snake.

Good design of all types, including home interior design is about moving the eye, mind and body throughout the work. Whether that work is architectural, a photograph, painting or product, when the viewer is engaged, the work is a success. That doesn’t mean that good design appeals equally to everyone. That’s not possible. Despite that, there are general concepts or tools that designers and artists of all types use.

One of those tools is the balance of design repetition to variation. A good designer creates work that has enough of the same thing – repetition of design elements, along with enough differences – variation of design elements, to keep the eye and brain engaged in the way they want it engaged.

Too much repetition and something is so visually quiet, the brain can’t find stimulation and looses interest. Too little repetition and the work lacks stability. The brain gets overwhelmed by the lack of visual cohesion and looses interest. Bringing variation into the design mix is a balancing act that the designer or artist works with to create the “right” amount of viewer engagement.

Though the colors of the snake are similar to the gravel, the shape and texture of the snake instantly gets the brain's attention. Then the brain notices the slight variations in color. By then, I've run in the opposite direction. My brain was certainly awake and my attention engaged.

Because these design concepts can seem complex to understand, I’ve illustrated them with some photos I took in a driveway. Walking across a long gray graveled driveway several times, my mind was focused on anything but the steps I was taking. Then I saw the snake. All of the sameness was out of my brain in a nano-second. Even though the “variation” (the shape and slight color change of the snake) was a very small amount of the experience visually, it was more than enough to get my attention.

I like to think about the concept of balancing repetition with variation and how it exists in the world, both in nature and in human design. I first wrote about this in my book, Paint Happy and I’ve continued to be fascinated by how this design concept is so important in every facet of the arts, including music, theater and dance.

So, next time you’re choosing colors, designing, or making art, remember the snake. Your brain will thank you.

www.CristinaAcosta.com