Benjamin Moore Blue Gaspe.
With the kind permission of Phil Mansfield
Regardless of whether it is the ultramarine of a Yves Klein -Meisterwerk or the faded chambray of a shirt that has been worn out softly for decades. An atmospheric navy can offer a dose of quiet luxury, while a calcareous powder blue spends a soft, sun -like charm. It is endlessly versatile as a paint color, partly because it works well with many other colors.
“I have never heard someone say:” I don't like blue, “says Mark D. Sikes, a designer in Los Angeles who has become a design diplomat for the color. But be careful – the wrong tone can quickly distort” Baby's Room “.
“People are afraid of saturated colors that are really silly, so they tend too light – and that's a bit” kindergarten “,” says Jess Knauf, designer in Denver. “If you accept saturation and really commit yourself to this beautiful depth, it will pay off in spade. It is a little more grown up.”
Ian Parker from Parker + Co agrees that the depth is of crucial importance. “I would stay away from the basic colors in blue and find something more demanding,” says Parker. The goal is to look for a blue that has an undertone, such as: B. a muddy gray blue or Sea foam. “No electric blues, no Sky Blues … you have to enter the intermediate areas because you are not wrong.”
And if you are nervous to dive into deep blue water, just dip a toe. “I use Blue very sparingly for puncture points, almost like designers use black,” says Jeffrey Alan Marks, designer in Montecito, California.
Here are nine shades of blue that designers swear.
Farrow and Ball skull.
With the kind permission of Amy Neusinger
Farrow & Ball ostrich
Sikes, author of “Forever Beautiful”, loves the skylight of Farrow & Ball, which he recently used in a primary bedroom in Hinsdale. “Senior light is this perfect color of blue, which contains just enough gray that it fits everything in all types of light,” he says. And just because it's blue does it not mean that it is sad. “It feels fresh, it feels optimistic and it feels happy,” he adds.
Benjamin Moore Blue Gaspe.
With the kind permission of Benjamin Moore
Benjamin Moore Blue Gaspe
The designer KD Reid decided with an atmospheric blue, Benjamin Moores Blauem Gaspe, for the ceiling and the cladding in a room in Stone Ridge, New York. “It creates a male aesthetics that balances the softer, female properties of the Bukolian wallpaper from Fromental, which contains a tailor-made landscape with a sepia-down landscape on pearl paper,” said Reid, designer in Newark, in an email. He drove the room in this cloudy blue with purple under tones, “leaning in drama,” he added, but with an increased, elegant hand.
Benjamin Moore Newburg Green.
With the kind permission of Aaron Colussi
Benjamin Moore Newburg Green
Even if it cannot completely define the shadow, this blue-green-newburg Green is from Benjamin Moore-Ein from Knauf's colors. “It's so rich, it is so nuanced,” she says. “You can't really say it – is it a blue? Is it a green? It is a very traditional color for me and would be at home in the colonial Williamsburg or something.” Knauf notes that it is also a shape switch that can work in slim, modern rooms. “Think of a sexy library in a middle of the century (building) with weak lights.”
Sherwin-Williams Riverway.
With the kind permission of Molly Culver
Sherwin-Williams Riverway
For a floor room in a holiday home on the river in Texas, the designer Sara Malek Barney from Bandd/Design in Austin was looking for a blue that felt timeless and appealed to all kinds of people. Sherwin-Williams' RIVerway was the winner. “It has a green undertone and played nature that is right in front of the window,” she says. The shadow that is not too dark, not too cheeky, looks like the Goldillocks of Blues.
Farrow & Ball Haag Blue.
With the kind permission of Jeff Marini
Farrow & Ball Haag blue
Parker converted an early Murelledes living room in a brick -chicago -rowhouse -rowhouse that better suited his young customers. “We wanted to make something fat and classic, but still do it hip,” he says. Enter the Hague Blue from Farrow & Ball, which has a great “bang for your money” and find that you have used a flat finish on the walls and gloss over the cladding. “You only have this great, brave drama without being disgusting. It is not bright and irritating. It is actually calming. And it is very classic for me.” The designer Amy Aidinis Hirsch also used this color in a room in Greenwich, Connecticut. “I love it because it is humid, it's a bit coarse -grained … it's somewhere between blue and green.”
Benjamin Moore Polar Ice.
With the kind permission of Susie Brenner
Benjamin Moore Polar Ice
When Knauf had to spice up an old rental house from her that was in poor condition, she turned to Benjamin Moore's iron ice. The barely blue has a coolness that feels intended to be neglected. “It's really clean and bright … it just felt fresh,” says Knauf. “It looked so good in a closet in which you only want a clean fresh start.”
Benjamin Moore winter evening.
With the kind permission of Colette van den Thillart
Benjamin Moore winter evening
For obvious reasons, Blue is a natural on blankets. Colette van den Thillart, a designer based in Toronto, said in an email that she used Benjamin Moore's winter evening in a brilliant finish on a dining room to create “a moody but happy atmosphere”. Dark colors are perfect for blankets, she said because they go back. “Gloss surfaces look like Mirror, so a dark blue was a dramatic choice for enchanting dinner.”
Small green pearl color dark.
With the kind permission of Trevor
Little Green Pearl Color Dark 169
For the distant cupboards of this kitchen in Newport Beach, California, Marks were selected Pearl Color Dark 169 by British Paint Brand Little Greene, which is now available. He appreciates the brand for its happy, neat tones, including this “very quiet, cloudy English blue with depth,” says the designer, author of the new book “This is home”.
Benjamin Moore Yarmouth Blue.
With the kind permission of Benjamin Moore
Benjamin Moore Yarmouth Blue
James Yarosh, interior design and gallery owner in Holmdel, New Jersey, chose “A Unifying Neutral”, Benjamin Moores Yarmouth Blue, as a quiet backdrop for the collection of black and white art of his New York City customers. “The blue has added brightness to the strength of the works of art and life,” says Yarosh.