Accessorize your palette

I

n my early design years, client meetings were quick and efficient. A scheme meeting would begin with a swatch book of paints, often accompanied by inspiration images. The speed of these meetings directly correlated to the repetition of the color schemes I was asked to match. There were colors in my book whose corners had begun to curl due to the frequency with which they were selected — soothing colors, neutral colors, bold accents in rich navy and grounding charcoal, repeat, repeat — “a classic.” Little by little, with these clone-like projects, the vibrancy that accompanies creative output would lessen, as I began to feel like I was working on autopilot.

Are there classics? For sure. Is neutral a color scheme that is likely a first choice? One hundred percent. Are there sure-fire successful palettes? No doubt. But consider this: within shades of taupe and greige and white-with-blue-undertones-and-green-overtones-and-squint-one-eye-and-you-see-some-pink lies feminine lavender, rich oxblood, cardroom green, and bold plum. A soft blue in place of stark white adds a sophisticated layer that may not have occurred to you, yet reads calming; springy green drapes could pair wonderfully there, perhaps replacing that wheat-colored weave.

That room that was “fresh white with a pop of color” might be impactful, instead, if it were based around shades featuring said “pop of color.” What if that small pop was the white? What if neutral became a supporting actor and no longer the protagonist?

The risk lies in the execution, not in the choice to color outside the lines. Choosing a palette beyond societal instinct, when executed with care, can produce a product that feels just as soothing as beige and white. That comfort zone is a wonderful place to sit — but an even greater respite is found in thinking with a different, and wider, lens. Undoubtedly, that creative stretch yields a far more rewarding result.