“Light is a thing that cannot be reproduced, but must be represented by something else ― by color.” ― Paul Cezanne
I often wonder: Why do so many people think white can solve every design issue? To me, a white wall is a blank canvas, a beginning crying out to be personalized with a finish of color. As an architectural color consultant, one of the biggest misconceptions I come across is the idea that pure white ― independent of any other factors ― will brighten, lighten or enlarge a space. Color is reflected light; without adequate lighting, white just looks gray. Check out the shadows at the corners of a white room or ceiling and you’ll begin to wonder, how did this trend become so popular?
Somewhere along the line, people started associating pure white with modern, sanitary and the ultimate in neutral. But “contractor white” is a utilitarian color ― a temporary solution until the space’s occupant can select an appropriate palette. Due to its overabundant usage, people are conditioned to see white as a cure-all. This should not justify the end result of sterile white spaces.
Whites with some saturation are imbued with their own luminosity, and therefore will not turn gray and shadowy, as pure whites do.
Take the gleaming white monuments and government buildings in Washington, D.C., designed to mimic the famous temples of ancient Greece. Recent research reveals that those ancient buildings, our original models of elegant design, were often coated with saturated colors to maximize visual impact under the strong Mediterranean sun. (To read more on this subject, go to Classical Color.)
In my work, I often find architects and designers limiting themselves exclusively to black and white, and the grays and browns of concrete and wood. And the clean, sparse, modern all-white interiors showcased in shelter magazines help perpetuate this trend. Unless your space is flooded with natural light, or you have access to a slew of special equipment, you can be assured your interiors are not going to look as bright as these glossy, professionally lit and styled photos. Dingy, windowless basements and small dark rooms will never “become” light on their own.
Another problem occurs when people don’t take visual ergonomics into account. How does it feel to actually spend time living in a room? Contrary to popular opinion, decorating a space in dazzling white is not always soothing and neutral. White jumps out at you just as any bright color does. The human eye sees pure white as brilliant, and its highly reflective quality can cause eyestrain and headaches.
As you can imagine, there is no one-white-fits-all solution. Color is all about context, so if you’re going white, it’s important to pick a white with the correct undertone for the space in question. Whites can be tinted with yellow, pink, violet, blue, brown or even green. Whites with some saturation are imbued with their own luminosity, and therefore will not turn gray and shadowy, as pure whites do. Just as you would analyze a highly pigmented hue for its underlying color tone, so too should you closely examine whites.
What’s your take on white? Is it timeless or tired out?
Post your reply below.
Rachel Perls is an architectural color consultant based in the San Francisco Bay Area. In addition to a fine arts degree, Rachel is professionally trained through the
International Association of Color Consultants, where she also serves as a committee chair. Through a multidisciplinary approach to supportive design, Rachel helps clients realize the full potential of color in both residential and commercial spaces. Be sure to check out her nationally recognized blog
Hue, dedicated to color.
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- Full Spectrum: The New Neutrals
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I think white is great in light spaces with lots of room, and with a budget to have fantastic furniture or art that is colourful and warms up the space. And I quite like those ‘swedish style’ homes with wood pannelling or other textures, painted white, and lots of warm wood and simple traditional furniture, and textiles for warmth. But I personally wouldn’t want to live in an all white space. Maybe it’s too many years of renting beige houses, but I find it a bit soul sapping rather than soothing – but my style isn’t modern anyway, so it doesn’t come together as a ‘look’.
And I guess it depends on what kind of white you are talking about – I’ve just picked a white to paint the trim and it was way harder than picking the colours on the walls!
White can work in a room without a lot of light, if it is a warmer white. Is there such a thing as “pure white”? Decorator or Designer whites usually contain some gray to help with coverage. A gray or blue white will not do a thing for a room with dim natural light,few windows or a northern exposure. A warmer white also brings out warmer colors in wood and/or stone. Darker, warmer colors can make a small room look like an ember in a fireplace.
I don’t believe there is a truly pure white- anyone else have input on this?
Love your description of a dark warm color like an ember in a fireplace- beautiful image….
I agree with Rachel that there is no such thing as a “pure white.” Every white has some sort of undertone. Some more pink, some more yellow some more green, etc. (Just look at any white paint fan deck!) And these undertones will respond differently depending on what colors are used in conjunction with them. If a pink-y white is used next to a green, it will look even pink-ier (complementary colors.) Pair that same pink-y white with a fuchsia wall color and it won’t read as pink.
I think the question is begging to be asked, why would we want the “purest white” on our walls/trim anyway? Any white color selection should be based on the context of the project. And different projects will require different whites. I do tend to work with creamier/warmer whites with most clients, but there are instances where a greyed-down white is more appropriate. And, of course, as the article explains, whites’ appearance is highly affected by the presence of, or lack of presence of, light.
White needs a lot of sunlight in order to work in a room. It’s especially true for “tinted” whites – without enough light you will never see the nuances (undertones) that make the color interesting. All you will see will be gray shadows.
Yelena
following the blog, good stuff!
How true..your insights about the misconceptions of “white” are right on! I tell my clients that white needs light to “live” otherwise it just “dies”.
I do love playing and layering “off-whites” where the light conditions support it. I did a fabulous workshop with Farrow and Ball, layering their complex whites– beautiful. I am also a big fan of Donald Kaufman whites–though his real genius is found in his custom-mixed paints–tweaked to perfection.
The debate about ‘white’ began before I was born and will continue long after I’m gone. There are supporters and naysayers on both sides, yet there are still people, like myself, who enjoy white walls as well as walls painted with strong colors at different times in our lives. I just switched from strongly hued walls to museum white to give my colorful art a chance to breathe. While it was a bit of a shock, initially, I love it. It’s clean, crisp, simple and the change forces me to clear my space of all the extras other than that strong design elements that truly play well off the stark neutrality of the walls. Honestly, it takes courage to use a lot of white, even in places like Colorado where we have a great deal of natural light. This is the land of chocolate brown, tan and earthy colors after all! One more point… when you have a lot of strong colors in your art, you must be careful not to create a competition between other colors in the room. So, white is a wonderful solution for those who love their contemporary art. But, it’s not for everyone. For those who prefer a more ‘homey’ feel with many accessories, textures, woods, stone, brick, etc. white may seem too stark. But, for those of us who like clean, zen-like environments, the ‘right’ white is sublime [my life feels so complex at times that I prefer my living spaces to be more serene]!
ah, the white box museum appproach — you might be interested in an article I wrote last year for Stir about that very topic (although I argue for color) Does Art Make the Walls or Do the Walls Make the Art?
It’s an illusion that museums and galleriee have white walls. They frequently have very vibrant walls in galleries (common areas can remain white). At the Detroit Institute of Art, they have very colorful walls. Wall color can and does act as a “mat” or frame for the artwork. Lots of reds and teals used in mseums all over the world. “Colorphobia” makes many of us consider white as pure and vibrant colors more garish or a scary.
As a Interior Designer, who specializes in Coastal decor, I absolutely agree that color, whether soft & restful or Rich & dramatic, creates feelings and reactions of people. Even when I choose whites for ceiling and trim work, I select with specific hues in mind, to give life to the room.
I always felt colors reflect personalities… white does also.
White is tired. I lament about the same topic over and over with my clients. As a Decorative painter I really stress how white does not always make the space appear bigger in fact often than not it closes in the space. Being in the north Midwest area I educate to my clients on how dingy white tends to be. An all over white scheme to me is the hardest one to pull off. Only the best of designers will have success with that as it needs a room with good bones and lots of texture and the right geographical location.
Rachel has it exactly right: bright white paint can only come to life in natural light. As for the all white interiors we see in the magazines, great designers like Vicente Wolf–who is known for his “white” interiors–don’t use bright white. In fact his white of choice is stepped down in value and full of complex undertones. Which brings up the idea of simultaneous contrast: we don’t see colors in isolation, they interact with each other changing our perception. So in a sense the lightest neutral becomes the “white” in the room.
I have just renovated a rental home. Previously it was all neutral, which suited it’s prior tenants just fine. When they left, I redid it in a collection of complimentary SW colors, tending toward the green/blue tones. It is tasteful and professional, with a decorator flair.
Now prospective tenants are divided. They either absolutely love it or else are uncomfortable with it. Wives generally favor it, while husbands are more traditional – tending toward neutral.
I completely agree with your commentary with regards to the inaccurate perception of what white will and can do for a room. We hear the same perception from our clients often and it can be difficult to overcome until there is proof. I like to think of white as the color that uplifts all others. It balances anything you put with it – popping highly saturated color and defining those on the opposite spectrum. Still today, an all white space moves me, with its simplicity and humble presentation. My take is that white is most certainly timeless.
I use white appliances & bath fixtures exclusively. They are dateless & colors & design can easily come from tops, wall covering, floors & drapes.
White walls & especially woodwork are a maintenance drag.
Excellent point about white being a bit hard on the eyes. Think of a sunny day and snow! If you have plenty of lighting and the right undertone to really make it bright — although you will have a bright room — you’ll rarely have a warm look. Most people think all white rooms are too cold and are constantly looking for color to warm it up visually.
I’m down in a forest, river valley in the Portland area. Not much natural light. I have a very modern home and am thinking of painting my two story “statement wall” in a saturated red-orange. I think a two story wall in that color will go right past the concept of an “accent wall”. That’s why I called it a statement wall. That ought to kick up the wattage!
I TOTALLY agree…I have been explaining this concept to my clients for years…just think back to they old days of white hospital rooms and dentist offices…ugh…
Also..white takes away from the beauty of beautiful wood furniture…you will note see white walls in showrooms that sell quality wood funishings…such as the High Point NC market showrooms…The white tends to minimize the beautiful grains and colors in the wood…
White is the absence of everything. White is the “nothing to say” in a conversation of color. White is an “empty mind” in the color spectrum. White is an “easy out” when everything else fails. White is a square in a round colored hole– it does not fit properly. White is like having no tools in your toolbox . It’s necessary but not required.
Its true that so many clients expect to have color bring light to a space that lacks lighting from either a natural source or lighting fixtures.
This is common in hallways of residences. I usually recommend colors in the yellow family. They seem to pick any light source and reflect it around the space a bit. The opposing walls, being close to each other, have a chance to bounce that light around better than pure white.
I think, too, that we have a natural association with yellow as a sunny color and therefore, perhaps, are minds are inclined to think in terms of brightness.
Ceilings are another good example. So often a clients looks for a white to brighten a ceiling. The problem is – because of the typical angles involved – the ceiling gets grayed out. The solution for this can be, again, a clean yellow tone. Alternatively, a light blue can be effective. This is a way of “working with” the gray that is inevitable with the light absorption on that plain and add interest to it with a little color. Perhaps, too, the mind thinks that the ‘color’ should be deeper so it thinks it is thought of as light.
As you say: Context is everything. I remember many years ago looking up in the dictionary the definition of “color”. When I came across the phrase that said color “depends on light”, I had an “ah ha” moment.
Joe Ryan
Ryan Painting Services
South Pasadena, CA
yes, the sadly forgotten “fifth wall”. by working with an understanding of how light will reflect within a room, and what will happen in the shadows, we can certainly avoid dingy grays.
yellow is tricky, isn’t it? in my experience, it’s the color that most easily absorbs and takes on the characteristics of whatever color is next to, or reflecting onto it. Big window with leafy green tree outside? Watch out for your yellows…
Hurray, excellent article! As an interior designer, to me white is just “SAFE” and so many designers use it. I hope the trend is going away and it should start with the shelter magazines. My Clients LOVE color when I help them feel safe using it!
Are we allowed to reprint this article for others to see (with appropriate recognition for the author)?? I would love to have other see this.
glad you enjoyed this article! It’s fine to do a summary of the article on your own site, then link to the full piece. I’ll ask Stir editors just incase…
White is an excellent option when there are many planes and angles in a space to capture both light and shadow. The tint of the white can infuse a sense of warmth or coolness depending on its juxtaposition with the other elements – flooring, ceilings, furniture, art, etc. The most successful use of white is when the paint itself is of excellent quality, usually in a satin finish to pick up additional reflection. White can have depth and visual energy, but requires all the other elements in the space to provide contrast.
I love whites, and I agree with the author of the article white needs an undertone……….first…….evaluate the type of sunlight facing structure to determine a correct undertone, ie: west facing a cool undertone, an east facing a warm undertone….Thanks for the article. From time to time I teach color techniques at local community college….all input is invaluble……..Kitty
I completely agree with white’s need for light, but I have also found that color perception and people’s need for, and comfort level with certain hues is in large part seems to be based on culture.
I am a designer working in both Europe and the US, and I am always amazed how significant the difference is–Europeans definitely gravitate towards cleaner, crisper, more glaring hues in their interiors than American clients. The latter are more comfortable with yellowish undertones, muted, more neutral shades in any color they choose, including their whites.
I think the European preference for white and clear colors stated by Eva has to do with age and history. In the States, where most of the architecture is less than 150 years old, a lot of people want the comfort of muted, yellowed interiors that evoke a tim-worn patina. As a professional decorative painter, I have been hired time and time again to glaze walls a parchment tone, distress furniture, create textured and tactile surfaces. Perhaps a lot of Europeans have had their fill of dingy time-worn surfaces and gravitate toward white and brighter colors to clean and freshen things up!
LOL-I imagine that is quite accurate. if patina is your norm, it’s not something you necessarily want to emulate!
I find that utterly fascinating: the difference in color perception across cultures, continents, ages, etc. Do you see Europeans of all countries sharing that love of bright hues? I haven’t traveled enough to know, but I would imagine the colors selected in Sweden are quite different from those of Spain…Certainly a topic to investigate further!
Very informative. I now understand why so many clients want to go white to brighten a room, not realizing all the factors involved.
Rachel, I couldn’t agree more. White paint on walls is what muslin is to upholstery. If white walls greet you when entering a home, your first thought is, “Who is this person?” My vote goes to “Tired Out” and fearful of commitment or would introspection be more appropriate?
Love your analogy! I’m going to remember that one. Fear, for sure. And lack of knowledge about how to utilize the power of color.
White or barely off-white walls can work in certain spaces, but they must be offset with darker floors and strong decor elements. In practice, few interiors have the architecture or the furnishings to pull it off successfully. One exception would be the Bar Belmont in Dallas, where curved plaster walls, colorful art and ethnic touches provide a lively contrast.
I agree with Rachel that white is often too bright, especially in Southern climates. Any color with an LRV higher than 70 or 75 at most is considered too harsh on the eyes.
I’m going to have to go hunt down pics of this bar now! I do think Judi hit on a good point about off-setting whites with darker colors- it’s all about balance and contrast. I don’t think there is any one, hard fast rule about how to use them, tho’.
Glad you mentioned LRV. For those of you unfamiliar with this term, it stands for “light reflectance value”. It is a measurement of how much light a color reflects, and how much it absorbs, with 0 being absolutely light-absorbing black, and 100 completely reflective white. Here’s a great explanation by a highly-regarded color colleague.
I have some more recent photos than what are shown on their website. (it is no longer green with cream, but white) Email me if you’d like to see them.
White, when used in the right setting can work but typically it is boring, blah, sterile and cold.
To me, white walls say – I’m too lazy too think about it or too scared to make a decision, so I will just leave it the way it is. It is a timeless sign of our lack of time and has been tired since I can remember. You are right Rachel, it gives me a headache!
I could not have said this better myself. Color is always relative and without some balance, all white interiors wind up looking lackluster at best. There is no light without dark, therefore a careful balance must be struck. Great point about white interiors being harsh and uncomfortable to live in. These are the points I continually drive home to my clients…magazine spreads are carefully manipulated just like a playboy model’s photo. This is good copy and good imagery, not good application for real living. Bravo Rachel!
thanks, Beverly!
Alakazaam-ionfmration found, problem solved, thanks!
YES! Finally… bring on the color! I am so tired of fighting to convince clients that white is the best “light and bright” option!!!
[...] Full Spectrum: White, Without Light, Does Not Equal Bright | STIR by Sherwin-Williams. [...]
I completely agree. White rooms without the right and enough light can look tired, worn and dingy. White, white rooms look very sterile, uninviting, frosty cold and unless you have accessories and art to soften it can be very irritating when you live in it. It can look great in a magazine, but, not feel good to live in. There are many shades of white and some will soften the room more , the ones with warm undertones of pink, red, peach, etc… however, even with shades of warmth white is not comfortable to live in long term if you want to create a restful, relaxing place to come home to.
White is probably more in the ‘tired out’, sensory-deprived category, often used because it seems safe & not controversial. It often doesn’t do anything for the space or occupants but in fact has a chilling effect. The only place to me where white seems so appropriate is the white-washed buildings of the Mediterranean where it ‘sings’ against the deep blue sky and sea.
Perhaps as a reflection of these uncertain economic times, I am finding that white– or one of its many permutations–is making a huge comeback. Design tends to be cyclical, after all. I like white but as a very conscious design decision– followed through by other white design elements. In this way, the chosen white appears deliberate, as opposed to arbitrary or the color of last resort.
Hello Rachel, I’ve written you before, as I tend to agree with your observations. I’m always conscious of using whites in my client’s homes as well as my own. I recently painted my woodwork a clear white with no undertones due to the vibrant colors on my walls which flow into each other’s living spaces.(Salmon with a slight pinkish tinge, golden rod and deep honeydew melon.) I wanted the colors to stand on their own with no undertones from woodwork influencing their color. The colors pop clean and clear and help combat the outdoor grays from my Northern New England home.
As a designer who specializes in white I have to say I have never designed a boring, sterile, safe room.That does not mean I don’t use color, contrast and texture. Walls are generic and plain even with color on them especially here in California. Personality comes with your art, accents and accessories.I prefer a sophisticated and clean look and too much color in a room just looks messy. So beauty really is in the eye of the beholder, designer or decorator.
Rachel, I totally agree about whites. Pure whites can suck the energy out of a room. I encourage my clients to paint their ceilings a pale shade of the wall color or, better, with a tinge of peach to cancel out those grey shadows and refect light flatteringly upon the room and its inhabitants.
White has been completely over used. It has become boring and flat and like black clothing, gives the impression that the individual is too scared to really say who they are or prepared to take a risk
I love this post. It wraps all my thoughts about “white” into one little article. I love it!!
delighted you enjoyed it!
“The home which can be bright?” The NEA is de facto a purveyor of leftist expression.
Question for you professionals out there….should my woodwork be painted the same shade as my blinds and shutters? I am using white tones throughout the bedroom so that I may accommodate any color furniture and accessories. I thought woodwork bright white to match existing shades, and walls a warmer white with hint of peach or yellow. I also read a hint of peach in white ceiling paint is best. Any suggestions? Thank you.
Recently we just moved to the bay area into a 1920′s restored & expanded cottage in the forest. We set out to find design inspiration and maybe a designer to help us pick colours and a design direction. We visited all the high end designers and their “boutiques” and after a while I was never so bored. Everything just seemed so monotonous and dead to me. Finally, we passed this shop we thought was a florists shop but upon further inspection we saw that it was more than that. We went in and the place was filled with life. The people shopping felt vibrant and full of energy and we felt our own spirits lifted. The place felt almost holy. We stayed and stayed and did not want to leave. The shop sold home wares, some furniture & other interesting baubles. We met the owner, a delightful lady from Japan and I asked her to help. She was not a designer but she pulled out a book that completely changed my perspective on interiors and design. I cannot put it down. The book is called “Axel Vervoordt Wabi Inspirations”. Axel is a designer from Belgium and subscribes to the philosophy of Wabi Sabi which hails from Japan. What is interesting is that Wabi Sabi is not so much about Japanese design but about spiritualizing interiors. His interiors, including colour schemes are as tireless as nature itself, nothing short of magnificent and do not rely trends or artificiality. While his interiors are not limited to any particular colour scheme you should see what he does with white, it’s nothing short of brilliant. He shows that there is nothing to judge about any colour scheme one is attracted to, it’s just how it’s executed. By the way, the magnificent shop I speak of was painted completely white.