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Lesson Info

Layering Color Palettes in Your Home

We've really pretty much beaten this color horse for a while as faras deciding what to do in a single room, right? We've been picking it apart all the way down to the little details, but what happens when you start wanting to move from one room to a next the next? How do you stay? Make sure that it's gonna work in your space, and so part of this top goes back to people's perceptions about my work and particular, you know how debra we were talking about how initially you would have had you not been looking at one of my rooms, you would have thaws that the color was on the wall, and now we know it's in a lot of other places. Another misconception about my work is that a lot of people think every room has a whole bunch of different colors in them, and I think they see one magazine spread, and I've used all sorts of colors in the space, and I do, but there's a very specific way that transition from room to room to make this work. So we're gonna take a look at this and see if if I can give ...

you some hints and some cues on how to do that yourself, so we're assuming that by this point you've made some of those decisions like we were talking about at the end of the last um section and you've already gathered your inspiration and you've started selecting some of your favorite key fabrics or textures or finishes on may be of even outlined a color palette for a specific room s so it's time to decide had a layer color within that space and then transition color not only around a room but from one room to the next okay, so again, I think it makes the most sense for us to look at the rooms that we've already been looking at because then we can we already know a lot about this we already kind of know what that what we do know what their inspiration is and a lot of the decisions that I've already made because I've told you a lot about that on dh so when we start looking again closer at this at a room say like this one what we know that I've been telling you I'm already it's what what do you what do you know about how I place color in this room? We'll see if you've been good students on what are some of the key things that come to mind about this room that you now know I've done? Yeah um use the color as a pop and use the envelope is a more like central calmer color yes, I feel too busy write anything else that you noticed about maybe the placement of where the killer is what does it help do depending on where where it is yes e di around yeah so you see the green transition kind of really all the way around the space and it's easy to see in a photograph because we take that from an angle that it looks really really bounced but it's actually really works when you're in in the room and then also what about the fact that I've used that color strategically and that you could for longevity actually replaced all the green with another color later on and not lose a lot of the keep elements of the room because you were saying that yesterday right deborah like the sofa is white and the chester wide and the walls are just barely not white there a beige in so it allows us to either bring in just another color like I did with the blue or even later on I could replace the green elements as they became warn or just got tired of them without really starting from scratch which makes ah lot of sense so that's the idea of building a neutral foundation which is one of the options for bringing color into your room and there's some other of approaches that we could use it we'll see in a minute now that I have elected this room a few times I realized that if you had not put all the blue together on the coffee table you wouldn't read that introduction of blue that is also disperse it throughout that's a great observation and my color I mean, in my design for my dizzy course that I teach one of the things that I do teach is using things as a collection our continent a concentrated area just like you said because it has a lot more impact s o if you sprinkled it all around the room and you can think about it say, if you had a collection of something everything from like a holiday collection oh are like a china collection if it's just a little bit here and there all over a house, no one would ever recognize it but if you bring it all in one place and display it, it has a wow factor and that exact same thing applies with color so yes that's a great, great observation also might read as clutter and noise to the eye especially if it's an accent color and not the main one, right? Right? And so I wanted that little punch of both green and blue here those air at let's say this is so much fun I love you're doing a great job. Um so let's continue to see what another spaces that's entirely different than this, but that idea of building that neutral foundation or a neutral envelope which I love to do and a lot of people are going to be more comfortable easing into color this way on dso here's, another space where the bed and a lot of the pieces of furniture. Now there is color down here in these kind of peachy, fleshy tones of the furniture, but there's still really close to a neutral themselves, because this is kind of all a monochromatic sort of tan tan room. But the walls, the ceiling, the floor, the bed, the batting, the bedspread is all in that layer layered basia look, and then even look at how I use mirrored pieces of furniture because they reflect the color that is in the room. So they really take on a character of being beige themselves, in a sense. But they're more interesting than had. I just put a painted feet piece of furniture there because they add that dimension and so it's, really warm and it's but it's still interesting. So any any comments about this room is opposed to the to the last one? It's quite different isn't why haven't see it seems like the wallace like at first there, babe. But then if you look at the more at least to my eyes, I see them still picking up some of that warm, fleshy dio, yeah, peachy color. So they start to reflect and that is kind of even that the eye as we talked about and if you stare at an image a long time, I told we learned on the first day and then look at a white a white piece of paper you can see like an after image or even see some hints of that image still reflecting again so it's what the eyes doing it either shows the compliment of it or it shows it shows an after image of that color that you've been seeing, so it does kind of start to take on this warm glow all the way around the space and then look at even something like what I did on the headboard so those air just two slightly different shades of beige but it starts to add interest because it is not just a solid hit board, it has a pattern to it, but it's still not contrast ng at all in color yes and that same thing even going around again the bottom of the bed there's texture and that and in looking at that that seat in the back there's texture and that as well like it's there's nuances of it again yeah, yeah s so this is truly a neutral foundation and even almost the color that we've introduced his very, very subtle in that beige I mean that teached him and then here's another neutral foundation but it's much lighter it's, almost like everything is white, the wall is very light the wall, the baddest why the bedding is white. The carpet is very, very, very light s o it starts sending a different message from that color psychology from this one, which is really warm. You feel like you're sitting by the fire and this one this one is the opposite, and it also starts to show you what happens with those color combinations and that sort of color study of bringing in the minty greens. And what happens to the white? Doesn't the white look really almost meant it step itself on the bed, just like you said about the last one, it starts taking on those characteristics, but it's still a very neutral base, and just pops of color in the same way um, and then here's one more look at a neutral foundation again similar very similar to the last one. Although the color the turquoise is much stronger, and this one, then the mint green was before, but still a similar feeling. Also adding more of that orange has more of a dynamic approach to you see, most people are going to feel most comfortable with this idea of building a neutral foundation, and then bringing color in in pieces it's not at even close to his frightening is bringing color to the wall on and you can add things in a piece at a time and then see what it needs I'm truly layered in and layering pattern and texture all across this space um and even there to my striped floor and I love this just a little tidbit a little um on the idea of the rug that is a company called dash dash and albert and they make really expensive cabana stripes and checks and fun patterns on the floor and what I love to do with them is so them together to make a big drug for a room so it's a great price point for a lot of either they're trying to do something that's very economical and because their stripes you can't even see it when you said them together, so I just take them to the same people who would buying a rug for me or make a bound carpet out of a rug and have them said them together to create a larger kind of that whole room room size world. Yes, I'm also warning about like the fabric choices because I look at the blue and then I look at the orange fabric and there's different like they're theirs different I'm presuming yes, what do you mean s o we have like the orange chair on the right and then you look at the kind of like the potter the bluish, huh? Like I noticed the difference between those who fabrics and that that's a velvet ribbed velvet on the blue chair so you see, it has kind of a sheen and this is like a ne b tech you're almost like a lynn and over here and look at the different think about the reflection of the icy we've been learning about that that color is not inherent in object, but it's how the light reflects. And so, as you can imagine something with a lot of texture on no sheen, it just kind of dies. You're right, it's it's heavier! It looks like it weighs more. Ah, and the other is lighter because the light is bouncing back off of it. And yet that's so that's, what we're talking about here is layering color throughout the space in all different kinds of textures in ways and there's a huge mix of content here everything from lenin toe wool to kashmir to cotton I mean and velvet cotton velvet we've got lamps that are reflective. We've got a very shiny table finishing the back. We've got painted furniture on all of that again is about the layering, and we're gonna see how when we transition to other spaces it's really important to think about bringing some of those from room to room so option one would be to build that neutral foundation, I think everybody's starting to feel comfortable with that idea, right of building a neutral base and then just having strep strategic color s so then, what happens if you build a color foundation on? We know there's a few options of this as well. So this is when we start bringing color to the walls, and I think the one of the main things you're goingto notice in these is again the idea that the wall colors a lot softer than you originally perceived the room at first glance to be like you think I use such bold color, but look where the bold boldness even of these softer pastels comes in it's in things that have texture, like the rugs on the wall covering and other elements in the space, right? So what? What do you what do you all see that you're drawn to in this in this room? Anything pop out at you love us that that patton and you've got that is there it's circles, but it's also flowers, right? But they're sort of very geometric it's just it's so pretty, but it's not really overly golly, so another room that would grow with a child because we don't design this room for a little girl who was about four years old, but we wanted it to grow with her till she was, you know, and again it could be a twelve year old's room easily andi even in one image you saw this where I had the big built in sofas so all our friends could pile up as she grows and have a sleep over. Another thing didn't know here is look what's happening with the furniture when the color comes to the wall ah lot of the furniture is the neutral base again, the the white bed, the white bedspread, the white chest, the white benches at the foot of the band of white legs on this ottoman over here. So it's making some decisions that if I want to bring the color even in a subtle way to the wall, it starts toning down other things in the room. Toby, we've also had over the last two days several questions on cornices and molding on and it's interesting I was just noting in this room, which has sort of irregular walls and jut outs and things you still highlighted the mall in yes, because the building is thick enough and substantial enough to highlights if it was a tiny little thin piece of crown molding that was an interesting or arkin didn't add anything architecturally, I would've just painted it out the wall color so that's making a decision that that we do want it to stand out in the space and be part of, uh, and even speak back to the furniture gives the point of reference for the painted furniture, right? When you have that moulding on the wall, we do have a comment coming through from pure design interiors, who's noticing that the pattern on the window coverings plays on this gay, and then the rest the room plays on the scale of the pattern, the wallpaper to the window covering to the rug. So she's noticing what we were saying yesterday, which is perfect for this layering discussion, that I started with a more bold pattern on the window and scale, and then even the wall covering is really close to the same pattern, but it's smaller. Ah, and then you go down to something like the rug, which isn't all over pattern, so ultimately seems busy, but if you look at it, it's even more intricate in scale, so ah lot of big pattern versus this more busy. So what? I would consider really even a smaller, more intricate pattern and even just the little polka dot on the sheet. So she's noticing that whole layering of fabric scale that we talked about yesterday, even in the center section of the dresser there is a circular pair circular pattern that here in the woods a regular pattern here there's a circular pattern, ears, hear the lamps look like circles, the lights or circles the polka dots or circles. I mean, it is again what you were noticing in that other space and that's the subtle part, because if all of that stood out, it would be overwhelming, and a lot of people go into my spaces. And this is it perfect for this conversation, and they don't even notice how I transition a motif or not just a color but an idea, a shape or form throughout, and not even in just one room, but a lot of times into an entire house. And it's those set and that's exactly what this section is about. Those subtle cues that I say when I teach this in my own courses, I love to say in the mind's eye like you may not really noticed that you may not have a conscious thought, but in what I call the mind's eye, it recognizes something. I've seen that before. Oh, that's familiar. And so it eases you into a transition from space to space because it's not like every single thing that I have to take it in the next room it's never seen before some of it already is familiar, and it can move on to other things, if that makes it so that's a reason to take something like a circle or even something that I love to use that's, more bold, like a honey come or a hexagon, or agree key and use it in subtle ways throughout an entire house that you don't want it screaming in every single room, because that becomes that overuse of a trend and people like, oh my god, she went out and bought every single thing chevron she could find in the whole world, but doing something like having a chevron fabric and your child's room and then laying your entry wood flooring in a a chevron or herringbone pattern is that gentle nod to a motif, and it gives you that point of rest reference that really makes your whole style flow throughout a space. Can you envision that? So it's essentially kind of matchy, which is my style to be that way, but I don't do it in a way that screaming, I pick some of them that we that we highlight, that you can see and others like you just noticed are such a tiny little what we call those nuances are subtle introduction are repetition of a form in a space that really make it interesting. And I think a lot of people would be scared to do that because they would think I have already used that. And it would stop them from using it again. Don't you think? Yes. Djamila andi, I think the choice of what pattern matters because, like, this is a girl's room. So you wanted to be a little bit more around, but also its very angular and there's, a lot of rectangles from the table in the middle and even the bed. And even the walls are really harsh, right? Yeah. So it softens it up. But I feel like it's a good choice of ah, something to repeat exactly in another reason why we chose not only this color for the wall are the shade of color, but also that kind of circular motif is a room like this, and we even saw it in her sister's nursery because we intentionally enhanced it there, withdrawing the brown lines around the room. But it could come become really angular in a harsh sort of way. And we were trying to create something that was sweeter because we remember yesterday from color psychology that pinks and even purples are going to be more of that kind of softer, sweeter tone and that's what we were really going for here to kind of make those angles of the ceiling even go away and your eye goes to the fabrics on the windows that sort of bypasses those weird ceiling angles that that sally was pointing out on, they really just become the backdrop so in a sense, depending on what color you pick a color foundation khun b also an envelope or almost the same ideas wrapping the room in a neutral depending on how you use it in the contrast in the space, maybe a quick clarification chase may asks, does color foundation always made the color on the wall? Um, well, it means it more not just the wall but what we're really thinking about here because it's, what most people think of us, I'm showing you color on the wall, but it means the sealing the wall, the floor, all of what you would consider sort of the foundation are the bones of the space, what, and maybe even the furniture if it's the key pieces that air grounding it so we could have chosen and I would have and in an instance been completely comfortable sent making that the bed and these little stools also the color of the wall and that becomes kind of that color is a neutral sort of thing um here's one that has a lot more contrast in the space so there's color on the wall again color is our foundation but much more dynamic for a number of reasons for one the color we chose the colors we chose being that analogous color scheme of yellow, orange and red we know is much more dynamic those colors are seen by the eye a lot quicker than other colors there are a lot warmer and then even we have this warm tone of furniture of the woods that air really contrast ing to the wall so completely opposite from the last one where there was no contrast really are very little between the white bid and the white stools next to the lavender wall so this was a conscious decision what do y'all think about this? What do you notice about this color foundation? I feel like the orange is definitely a happy color it made me happy as soon as I saw this like so happy oranges so inviting I like that choice and then to have that tone in the wall and in the background was also nice. Thank you. What do you think? Never my first thought was I wonder how often you have a client that says I want you to do this room but I'd like to keep the bid and the night stands before so do you jump off from there or did you go out and buy the bed in the night? So the night stands we added but that's a great observation and even I painted that little bench at the foot of the bed, but many, many people in this room and out on out on the web are saying, ok, this room looks more like what I'm dealing with because my client or my spouse says there's no way we're painting that really fabulous would bit, and we're not getting rid of it either, because it's like this masculine piece that I just relate to and so that was again back to one of those design challenges we talked about yesterday was the first thing I had to do here, and this was the house with the red entry where I was trying to mix to this the husband and the wife so she wants funky and fun, and he wants traditional very traditional, so layering and things that start supporting this giant bed that's very heavy on he even wanted to keep the bench, which I was able to sort of overtime convinced him to let me paint it because it was coming from almost that trend in the nineties that had a lot of animal print and like the wicker, um, bench at the foot of the bed and so that's what we were transitioning from so again, this color foundation was created because of a challenge, and then you also see a lot of things happening now that you know the history behind the room because she's fun and funky he's very traditional so the light fixture is very unique with these with these kind of bubbles coming from these glass balls and then you see that circle motif repeated on the drapery and guess what? This is the same house with the nursery we just saw so that subtle circle motif it's in the master bedroom again eso again a very subtle nod people aren't going to notice so she's put polka dots in this whole house but speaking back to things that are happening and then as opposed to trying to ignore this really strong headboard we leaned into it a little bit with stained sustained bedside tables but they're a little more sleek and modern to speak to the wife's taste uh then hiss, but the layering really starts happening when you're looking at all the fabrics in the room, there is a lot going on in these fabrics, right? There's damn ex players, we've created this rug pattern out of those floor tiles, the little squares I created that whole rug by placing those squares in a pattern on part of that was because they had several children and part of that because we had two dogs and so if there's a spill or a stain when pops out and another one pops since it was a practical reason but it becomes part of the pattern and the layering here, so we've got we've got a diamond shape we've got small circles we've got an animal friend we've got a geometric pattern on the rug we've got a damn isc on the chair and we've got a circle on the window wow and a stripe on the day of a a lot of stuff happening, but what what do y'all think makes it work? Why does it work? We have a lot of conversation going on about this one in the internet and so let's read a few off pure design interior says I loved the bold stripe on the floor to punch up the entire design is solid rug or tone on tone would quiet the design and I love color whizzes comment it's sunny even when the sun doesn't shine and that's a hit toe why all of those fabrics work? Why do you all think all it is fabrice khun layer in to this space without overwhelming us? Yeah, they're on that they're all in that analogous color scheme and there's very little contrast in any of them they're all of the exact same color palette so and then the other thing goes back to what that layering of scale so a big damage, a medium sized dot on the wall, a smaller diamond pattern and then even down to that little circle so if they were all the same scale like this, damn it, we would have you know have major eye fatigue, but it's because we're layering all of these pieces and the color's transitioning and around the around the room that it really works. This is a really interesting example cause I saved to many of you and I think I said yesterday if you're not a pro at this yet maybe only bring in two or three fabrics to a room and then when you get more skilled, you can had more. But look how many different fabrics are happening in this space, a lot of them but it's because they're all in that same analogous color palette that they're really work. I think if you were to remove the throw pillows, the leopard and the ones with the berry on the bed, you would lose that edge in the room would read so much more traditional, more boring and there's even like a red stripe in that diva and that little pop there yeah, and look, look what color out of all of that that you see it's, that kind of red cinnamon color your eye goes to that because everything else is really close to the same. I'm wondering if the on the carpet the purple stripe is to like, cool it down or we'll see like a brown it's like a mocha dead, I can see where it has like some purple in it but it's really like in real life it's sort of like a mocha brown and so it's really to ground and speak back to the front the stained furniture so in the way, I told you to think about medals as a color and then also considered maybe stained furniture as a color too. So I embraced the brown as an element in this space instead of trying to ignore it. Another reason why I picked that the color palette is brown is really kind of along the lines of that analogous color scheme chocolate to red to yellow to orange it all fits in that sort of warm were warm feeling and warm ten let's, look at this one so again, a color foundation but what do we notice about what kind of neutral? What undertones, aaron, that neutral on the wall deal now anybody know what undertones those are green? Yes, green. So it's a greenie yellow are greenie, beige, a little bit of yellow and green and they're almost even short truce, right? And that happens to be one of the key colors that we pulled out in the space. So imagine this as our process of picking color last you can see why I picked that color as the neutral for the space because I was really speaking to that kind of greenish are truce um color that's all in the room now we could have made a decision to pick powder blue for the wall in here too, but it would have really changed it right totally changed it. It would have felt much cooler and calmer, and we wanted this to be in an energetic space it's like where they're going to play games with the kids and hang out and watch tv. It's not it's, not about being really calm there. Chase may has a question on this one. Well, it could have been on the last one, but they actually go together do the multiple patterns at different scales only work because they're in analogies colors for would it work? If they're in complementary colors, it could be a compliment. Yes, it doesn't have to be you you get to decide is an analogous color scheme? Is it a compliment? Is a split compliment, but you still want to vary the scales in any room to make it interesting and to make them not compete with each other and you're going to probably, as we saw in the last section, when I was showing you my color palettes and it is true in this space to have at least some pieces in the room that bring all of the color into one place like this wavy kind of zigzag here has the green the kelly green, the shark truce, the powder blue and the white so it's great for those of us that aren't is daring to bring in something that doesn't match anything in the room to give us that confidence. We pick some fabrics that have everything already working together, and that is really for me a lot of times where I build the scheme and you'll also notice in a lot of my space is what I do is I take even a motif and I enlarge it or I shrink it teo to make like a custom rug or another element in the space because again, like jackie o noticed in one of the other pieces, I think or one of you notice had we brought in another pattern on the floor and some inst this is it could have gotten too busy so a way to bring pattern because I wanted it to be lively on the floor here without giving the eye an entirely new thing it's never seen before that's what I was just speaking to that in the mind's eye had already seized this and recognizes that so it's easy to transition to that same idea on the floor just in a different scale and I do I use this trick very often to just kind of give me permission tio have color there but not really more busy nous or contrast does that make sense to you guys so okay, so here's the idea uh number three that we loved yesterday of color rapping and you can have color wrapping that's a low contrast our color wrapping that's a high contrast and many people love this project and this is the one that even house beautiful love because thank goodness they put it on their cover but we're going to see some of the other spaces in this house and really a lot of this entire house is wrapped in this color and you've seen some of these images already but what what is it about this space? Do you think that makes it work so well of color? Wrath and guess for me the walls are not all one color I don't know is that the finish it's of a nation plaster. So remember yes, I have we were talking about they have that buffed finish it it's almost like a powder coating like a marble. Yes, it looks really nice like the color seems a lot darker on the sides like it's as if it was like painted in everything. Yeah, what else do you love? Somebody noted yesterday when we were looking at this room that because the medal of the coffee table is silver it almost is just a extension of that same blue color palette I think it was somebody on the web that noticed that I was going to say that the fabric like anything from the chairs to the sofa, to even the fabric that's used on the rug on the ground that it what it's the nuances of those makes it have that death here's the bed or the master bedroom of this house exact same sort of thing, even though it's a little, slightly more gray, but very glamorous. And what makes it most, I think exciting. Is that there's? Almost no contrast again. So look at all the things I was playing with here, can ya? And can you all see without me telling you what? Some of the exciting moments for me, uh, we're in this space. Like what? What makes you excited about it? The wallpaper color for me, it has, like, a little a hint of, like, the bluish. Yes. What, like those chris there, their courts crystals on and look at how I mean, this is the perfect example of how subtle the color is, but so many things are happening in there from the mirror bedside tables to the courts, lance to this mirror over the bed and the shiny bedspread. And then the carpet is silk it's it's, a silk carpet it's wall to wall carpeting from start, but it's got a lot of silk content in it so it has a very shiny appearance on then there's little courts details on the coffee table again over there, the look at the curtain rods, they're lucite, so they pick up on that idea of the courts to that crystal. So this whole room is almost like a jewel box effect, but with no color. And yesterday we were talking about the jewell box effect because you went strong color or strong pattern or that animal print, but isn't this almost like a jeweler all by itself? It's, sparkly and shining and glamorous and it's all about layering everything in that room and really mirror read silver and it's reflecting all the silver two and you got the gold warm it up just a little bit, and we combined that on the land, on the coffee table and on these pieces of furniture, so, you know, usually I'm teaching you that you would take, say, a fabric and let it have the turquoise and the orange on it. But how about taking this feat piece of furniture and letting it have the gold and the mirror on the same piece? It's the same idea of using at trip on element to transition, a color palette and it's, not just fabric, it could be anything that you can create. Or it may already come that way but the lamp I had a decision did out did I want to put a silver based on the lamp because I could have silver leaf or gold and you could maybe see and understand why I wanted it to be gold I wanted it to be warmer and I wanted teo just add a little more interest uh wait talked about texter yesterday but you've gone hade shiny so you know a lot of the text we talked about yes that I was fabrics and different textures in the fabric but this that hard shine and that almost non color of mirror which you've used everywhere is just makes the whole room so shimmery and beautiful even though it's a non cars got like beautiful nuanced and I love this and I think this is what was this this is one of memos popular projects in general but it's still a color like you look at it and you think there's no color there that it's neutral but it is a color and I think this surprises people about me because what they're used to with me a bold color and strong contrast but every single rule that I apply to those rooms that have maybe orange and black and green and tan and all of that in there and coral it's exactly the same story and the same steps here they're just done without any contrast it's just fun okay, so here's another one where again we had a client that really was the wife this time she loved her bed, her french bid and we even let that set the tone for what kind of fabrice fabrics we picked on what kind of furniture pieces we picked because it was the whole french idea and sort of a french country live on the damn isc and ah lot of these details have a very french field to them, but what I wanted to do is update this space because I didn't want it to fill too stuffy because they're young and she's there still a lot of young clients that I work with that love very traditional things and you don't think about that you think young people like hip and cool and geometrics and all this stuff well that's not the case because it depends on what their family had, what their mother had, what they're used to and she's really comfortable with really traditional pieces. So how did I start to take this? Ah and make it work for them in a way that looked fresher and it was really the idea of having hardly any contrast, so the whole room is really yellow, right? But it's not harsh yellow it's not it's, not a taxicab it's not I don't think that they're going to be arguing is it really leans towards a neutral what how do y'all feel about this? Do you like it doesn't look happy? Does it look boring? Like it looks warm? Like when I thought I got golden like a schoolmarm and golden yeah it's very much like a relaxing like I feel like when you did your interview with this client they said they want to truly like a relaxing place place and I look at it and even from the picture and the umbrellas in the picture and there's little gold in them and they're all kind of picked up in the contrast with that green background from that painting that's what I was thinking was that a painting that they owned or did you choose the pain way I have them select that and it was an original art piece but we wanted it to feel like exactly like they were, you know, in in paris or even in the park in new york city, but it has that kind of appeal. But, you know, what's interesting to me is the words that you used about this being relaxing would be the same description you could use about this and they couldn't be any any different hard services shiny surface total glam and then you go to this and it's still very relaxing and very serene, so two people could have the same approach to wrapping a room and color with low contrast and be one hundred and eighty degrees from each other with not only their color palette, but the things that they put in the room, that the things that add texture, the things that had interest in the things that they layer in. So I think those were fun, uh, it's interesting cause I look at that and the other one and it's it's so much more traditional, but from what you've told us, it looks a so if you just pointed that timber been white, then it would suddenly, you know, have that pop of color that you've been talking about, and then it would have a completely different affect. Everything will be the same sight, and you will interesting you wouldn't get that traditional piece if the bed wasn't staying with you, and it didn't have that warm kind of tone to you wouldn't get that layered like french antique kind of collected. Look, if we had decided to paint the bed white, it would have been totally, totally different eso then let's go to seeing color balance in a space because this is the opposite of low contrast. This is a ton of contrast, but it's more about how teo again, once you bring a really strong piece into the room. If you introduce the color, how do you make it make sense across the space and that's? What I was saying earlier, that in that room that was mid century with the orange and the and the turquoise, I said, if you wanted to pop an accent color, you could go across the room and bring, say, a pop of orange or a pop of turquoise, and it would have worked really well because it would have been balancing the color in the space and that's what's happening here, even the green that you see on this side. What you don't know from this picture is that the opposite side of the room is those that bookcase where I have all the books that wrapped in white, but the back of the book case is painted in the green, so we bring the green from this side of the room to the other side of the room, so it's all about balancing that color in the space on dh. Then really again, it becomes the thing that moves the eye around and there's a lot of things happening in this space, too, but most of them are still solid colors, so there's a difference of solid orange chair, a solid green table skirt, a solid black sofa, a lot of solids, but they read really strong