b'spectrum sciencereds and yellows may also. So, if you want to be absolutely sureBest practices for about how your colour will appear once your project is complete, you may wish to test a sample of your selected colour tinted into your chosen product and sheen level and apply it to the sameevaluating coloursurface or substrate.top tip Start bigger than a swatchUse an A4 drawdown paint swatch as your minimum While it may be tempting to pick fashion colours from Europe,sample size. Since Resene drawdowns are made with real IntumescentFluorescentthese colours wont react the same under our local natural lightingResene paint rather than a printed facsimile, drawdowns lamp tube and can often appear too sweet. Instead, colours with a moreare a true representation of your Resene colour. greyed-off or dusty appearance and nature inspired hues are oftenGo larger when possiblebetter options to comfortably embrace the intensity of our light. Opt for an A2 brushout to see how the colour behaves at scale.Integrate proper testing into your process Test in situMaking larger colour sampling a standard part of your workflowWhenever possible, view your sample exactly where it benefits not only your projects but also your client relationships.will be used and view the colour from different positions How different lights affect colour PresentingA4orA2samplesalongsidematerialboardsand orientations.communicates professionalism and attention to detail. It invitesWatch the lightclients into the decision-making process with a greater level ofObserve your samples at different times of the day and at considerablyinspectraldistributionsocolourslookdifferentconfidence that smaller swatches simply cant provide. night under artificial lighting. Keep in mind that our natural in direct sunlight than they do when the sky is overcast. WhenFor exteriors, brushouts should be tested directly on-site andlighting circumstances in New Zealand and Australia can colours are viewed in artificial lights, differences become evenapplied to the actual substrate or a spare piece of the claddingintensify certain colours and wash out others.greater. For instance, lamps that are high in blue wavelength lightmaterial whenever possible. This approach reveals how surfaceCompare with the rest of your palettemake everything viewed by it look bluer while those high in yellowtexture, gloss level and environmental factors like shadows castPlace your paint and wood stain samples alongside other wavelength light cast a yellow glow. by adjacent structures and foliage will influence perception. Forfinishes, materials and textiles under the same lighting Once applied to a wall, your paint colour will also be affectedinterior projects, place the samples in the intended location inconditions to check their undertones and compatibility.by the amount of light in the room and its source, other coloursthe same orientation to the colour that will be used. This can present, the colour of the substrate or primer your paint has beenbeparticularlyimportantforcoloursappliedtoceilingsandApply your colour in the same sheen level to theapplied to, the texture of the wall, the sheen level of the paint,horizontal surfaces as the direction that the light hits the sampleactual substratethe size of the room itself and the area being painted. In othercan drastically change its appearance. Where possible, apply the sample to the actual surface words, variations are caused by colour absorption, reflection andColour is a critical design element with the power to definetype and texture for the most accurate impression.saturation, by the characteristics of the paint itself and variationsmood,alterspatialperceptionandintegrateorseparateRemember that scale affects intensityin surfaces to be paintedwhich will all affect it. Add to this thecomponents of a designand as professionals, we carry theIf two or more adjacent walls are painted the same colour, complication that different people of different ages, genders andresponsibilityoftranslatingourclientsvisionintoaphysicalthe result will appear more intense than a single accent wall abilities may perceive the same colour differently, the only way toreality. This extends to ensuring the right Resene paint finish andwould alone. Since this effect can be difficult to imagine get a true impression of your colours is to view larger samples in situ. system is selected and applied. The next time you find yourselfprior to painting, roll your A2 brushout into a loose tube The surface texture of your substrate and the sheen level oftempted by the convenience of a fan deck decision, pause, reachwith the painted surface on the inside. By looking down your paint also affect the way your colour selection is perceived.instead for the A4 drawdownor better yet, take the time tointo the tube, you and your client can get an idea of A colour with a gloss finish will appear richer, brighter and morebrushout a testpotand watch how your Resene colour selectioneffect the colour will have once applied to the full room.intense than the same colour will in a flat finish. A smooth surfacebehaves in the reality of your projects light, texture and material also returns more direct reflection and may make your paintstory. Making decisions under conditions that mirror the realityResene Resenecolour appear lighter or more vivid, whereas a textured surfaceof the finished spaceand with samples at a large enough scaleBlanc Sour Doughdiffuses light and can mute or darken the colour. Certain clear ensures everyone will be pleased with the projects outcome. blackwhitemag.com 37'