Home-Baked "Vintage" Banana Bread

Here's what greeted me in the kitchen this morning:

A bunch of bananas past their prime. 

Now, I know some of you will gobble these up no problem, brown spots and all, but I really dislike eating these guys once their freckles appear. As far as I was concerned, these bananas had three choices. 

1) They could go into the new compost bin. (We just got new bins yesterday, and we can dump yard waste and compost all in one container. Yay!)

2) They could get gurred up in the blender with some other fruit friends to make a smoothie. 

Or...

3) They could find their way into a batch of home-made banana bread.

Feeling like Betty Crocker, I opted for the third option. Those lucky bananas!

I typically use my red-and-white checked Better Homes and Gardens cookbook for banana bread, but, feeling a wave of nostalgia as I glanced at the beginnings of my vintage cookbook collection, I decided to pull a recipe from my 1953 edition of The Joy of Cooking. I also own a 2006 edition, but somehow that didn't seem as fun.

For those of you who don't know, The Joy of Cooking was first published in 1931 by Irma S. Rombauer - with $3000 of her own money - and remains one of the highest selling cookbooks in history. (Read more on Irma Rombauer here. What a fascinating lady!)

Obviously, this recipe had been used before. I discovered a huge ring perfectly centered on the banana bread page. Maybe this was a good sign?

I also found this funny little piece of paper, no doubt leftover from the previous owner's trip to the Hawaiian Islands.

I got started by measuring my butter, sugar and lemon zest. Then I let the butter sit until it reached room temperature. Sometimes I have been impatient with butter softening and have been known to pop it in the mircowave for a bit. Although this speeds things up, it's not really a good idea. If the butter gets too soft, it can compromise the entire recipe! (Tip from my brother, the chef...and baker extraordinaire.) Besides, Irma didn't have a microwave...and I wanted to do this vintage-style!

If you don't have a microplane grater, you MUST get one. They are phenomenal at zesting and grating hard cheeses, as well as chocolate. Just be careful, because they are sharp as heck (as I personally discovered last week when I took out a big chunk of my thumb. Apparently, my injury was called an "avulsion", a term I just learned from my husband and his new job at a hospital. Ahhhh...the perks of married life!)

My collection of vintage Pyrex bowls. I love the candy colors.

My little baking area. The hutch was my grandmother's and is on my to-do project list. Needs a little color boost. Any  ideas?

Mashing up bananas the old-fashioned way in my Harvest pattern Pyrex bowl.

Reading through the the recipe, I came across something funky. (Yes, I know. You're supposed to read through a recipe in its entirety before you get started, but it's banana bread! How hard could it be?) There were a few different options for baking powder. Apparently, back in the time this book was published, bakers had the choice of "Tartrate or Phosphate Powder" or "Combination Type." Is that like combination skin? What the heck?

Thankfully, on pages 501 and 502 it was explained to me what these things were...and when I pulled out my own baking powder, I realized I had - and have never seen any other kind my entire life - the "Combination Type", otherwise known as Double Acting Baking Powder.

And then I read the last ingredient: "1/2 teaspoon soda." My mind totally blanked. What kind of soda? Club soda? A splash of tonic? Oh. Dum-dum. She means BAKING soda. I have just been so conditioned to see the word "baking" in front of soda. "Soda" means a bubbly, sugary drink. I was almost ready to call my brother and ask him what Irma meant by "soda", but knew it was probably going to be something stupid that I could never live down. I'm glad I gave myself a few extra minutes. Whew!

At least one good thing happened while I was in my state of confusion - the butter softened! Time to mix. I pulled out another Pyrex bowl, grabbed a wooden spoon and went to town. No electric mixer here!

Then I beat in the egg with this funky old thing, found at an estate sale. I thought about using my Kitchenaid mixer, but, again, I wanted to do this as no-frills as possible. Besides, mixing everything by hand burns a few more calories, which means I can eat more of the finished product!

After I mixed up the sugar and egg, I sifted the flour, baking powder and baking soda. Although I usually skip this step in other recipes, I know it's kind of a no-no. The sifted flour, as I understand, makes a lighter, more delicate end product. Besides, there's something so beautiful about sifted flour. Looks like a snowy Swiss mountaintop!

Side note: Something you should know about me - I'm kind of messy in the kitchen. 

Here's the lovely banana bread batter. 

And what do you think it will be baked in?

That's right! Another vintage Pyrex dish. The recipe called for an 8"x 4" pan, and this turquoise beauty was a match made in heaven. By the way, whoever said turquoise was a "new" color trend needs to take a trip back to the 1950s and 1960s. There's nothing "new" about turquoise. I'm just sayin'.

Here's my little baby all ready to go into the oven.

And here it is all baked up and ready to eat.

Only I'm restraining myself and I won't actually eat any until tomorrow. We are going up to my brother's mountain cabin in Twain Harte tomorrow, and I decided to bring it up to share. Yes, it's hard to resist with the smell of freshly baked banana bread wafting through the house, but that's the kind of sister I am.  So I'll have to have a taste test and report back to you later!

Enjoy your long weekend, everyone! And please feel free to share any of your favorite vintage recipes and baking tips. I'd love to hear them.

(All photos taken with my new Canon EOS T1i DSLR camera. What do you think? I'm hoping there is a little improvement over the old point and shoot!)

A Fresh and Fruity Interview with Better Homes and Gardens

I am honored to be featured in February 2010’s issue of Better Homes & Gardens. If you haven’t picked up your copy yet, go get one!  It’s the annual color issue and is packed with lots of good info and inspiring, colorful photos. If you turn to pages 43-44 you’ll find a few quotes of mine on how to use citrus colors in your home. For those of you who want a little more color guidance with these tart and tangy hues, I’m including the full Q&A right here! 

BHG} We’re taking our inspiration from the whole citrus fruit (mostly grapefruit and blood orange): the peel, the pith, and the flesh. What makes these colors so appealing?

KB} Citrus fruit colors are appealing because they stimulate the senses on several levels. There is a strong synesthetic quality to them, meaning you can taste and smell the colors just by looking at them. In addition to being energetic and warm, they also emulate freshness and a bit of playfulness - characteristics that any interior can benefit from.

BHG} What sort of message do some of these brighter pinks and oranges send, especially when used in an interior?

KB} They send the message of energy and warmth. They are youthful, playful, fresh, sassy, friendly, approachable, social, lively and open. When you use these colors in your home you are expressing these qualities in yourself. Citrus-infused colors tell everyone who comes into your home that you are full of warmth and energy. If that’s the message you want to send, then these hues are right for you!

BHG} What about the nuances in this color—so many people just see bright pinkish orange when they look at these paints—what gives them depth?

KB} Too-bright citrusy hues can have an overbearing and overstimulating effect. Tropical Tangerine might look great on the chip, but when it’s on your walls it could make you feel like you’re swimming in a giant pool of orange juice. That’s why it’s important to add your own artistic interpretation to these hues when using them in your home. There’s not much room for literal translation when working with

citruses. Find the right colors for your home by experimenting with different versions of oranges and pinks. Most likely you’ll find that a muted version - one that looks almost too muted on a paint chip - will work best. You may need to gray down your grapefruit before it goes up on the walls!

BHG} We struggled a little bit with this color because it is so strong. How do you make it livable?

KB} Citrus colors can be bright and light or deep and dramatic, depending on how saturated and clear they are. When selecting citrus tones, it’s important to first think about the overall mood you want to create in a space. If it's depth you want, go bold and rich with a deep blood orange. If it’s airy and flirty that’s got you hooked, get your inspiration from a less dramatic clementine. And don’t forget to keep color balance in mind. A room’s depth and interest does not lie in the hands of any single color. Depth is created through balance and contrast, both in color and texture. A quick way to cool down citrus? Add a splash of turquoise. It’s like adding water to fire - a perfect balance, one that humans gravitate towards.

BHG} So, as a reader, if you’re faced with paint chips ranging from pink to orange and you’re looking for that great stand-out color for an accent wall or on the back of a bookshelf, how do you isolate a great citrus tone? Do you look at undertones? Do you match it to fabric?

KB} If you don’t already have some form of red or orange in your space, go with the citrus colors you are most attracted to. The ones that make you feel best. Then alter them a little to work within your room. For example, a ruby red grapefruit paint color that you just love on the chip might need to be muted a little to balance with your existing furniture. Instead of grabbing hold of the first paint chip you see and

shouting “This is the one!”, explore some different variations of ruby red grapefruit. And ALWAYS test these samples on your walls before you commit.

If you currently have a red or orange color in your space, try to pick a citrus tone that has the same undertone. If cranberry red already has a presence in the room, lean towards a deep red-orange citrus for continuity. Already have a fuchsia infusion? Lean towards a more pink-y hue. Sometimes you can trick the eye into believing two different colors are the same!

It’s important to remember that colors are relative and contextual, meaning they will change appearance as you introduce them into different environments. When introducing any color to a space, always pay attention to existing elements, including lighting, architecture, furniture, flooring, wood and metal finishes. Everything has a color, and every color has an undertone. By paying attention to the details you’re more likely to introduce a new color successfully.

BHG} What colors traditionally pair well with these citrusy colors?

KB} That depends on the overall mood you are trying to achieve. If you are searching for sophisticated and dramatic, pair them with dark chocolates or aubergine. Want fresh and cheery? Mix them up with soft, buttery yellows. Looking for playful and beachy? Set these colors off against a bold turquoise. Citruses can also look great with a crisp white, which emulates the pith and rind of the fruit. But just be aware, if you go bold you’ll end up with a bit of an orangey glow...and that crisp white might not look so white anymore!

You can also look at a citrus fruit’s natural environment for color pairing inspiration. Think about the colors that would surround a grapefruit in nature - the greens of the tree leaves, the browns of the branches, the whites and yellows of the blossom, the blue of the sky...the stem, membrane and seeds of the fruit. Use the color harmony of nature to inspire the color palette in your home.

BHG} What about fabrics and accents—what are some ways to get this in small doses and what else should be in the room (textures, metallics, etc.) if you’re using this as an accent?

KB} If you’re a little commitment-phobic, introduce these hues in small accents. Citrus colors pack a powerful punch and can liven up any room with a few artfully placed accessories. A blood orange pillow on a solid colored sofa will quickly bring a lively energy to the room. Just remember to balance your accent color throughout the room. If you use a grapefruit throw pillow on your sofa, carry that color through the space in other ways - vases, flowers, artwork, candles, lampshades, draperies, etc.

If the color isn’t evenly distributed all attention will be on that one little pillow, and the room will feel off-balance. And you aren’t relegated to solids! Stripes and florals are a great way to bring in a little pop of citrus color without making a full-fledged commitment.  Because grapefruits and blood oranges are so bold, you don’t need much to enjoy the benefits of their warmth and energy.

BHG} What about pairing this with wood tones, say flooring or trim—any tips there?

KB} Citrus colors work beautifully with most wood tones. When combining these hues with woods, however, it’s important to think about balancing the depths of color. A deep mahogany floor can handle a more intense citrus, whereas a light maple might require a less saturated hue. And again, consider the overall mood you want to create in your space. The deeper the floor and wall color, the more dramatic and rich the room. The lighter the floor and wall color, the more refreshing and playful the space.

BHG} How have you used this in any of your projects—I know you said you just used it in your bathroom. How did it go?

KB} I recently painted my bath in a medium saturated hue of grapefruit. It is just gorgeous! It might not be the right color for everyone because it is pretty bold, but I love it. It’s fun, full of energy and casts a beautifully healthy glow on my skin. And at night, with a few lit candles, the wall color completely illuminates creating the perfect environment for a relaxing bath at the end of the day.

Thanks, BHG, for giving me the opportunity to be a part of your annual color issue! And thanks also to my very talented friend and photographer Vanessa Stump for shooting my surprisingly color-coordinated headshot.

How to Find Your Design Style (Hint: Not Through A Quiz)

If you're looking for a quick 10 question quiz you've come to the wrong place. But don't worry. There are plenty of those online. A few more clicks and you'll find one. And at the conclusion of a series of spiritually empty questions that you find yourself struggling to answer due to the fact that you can't understand what the photo is trying to communicate,  it will tell you if your style is "French Eclectic","Farmhouse Chic" or "Modern Traditionalist."You'll have all the answers in the palm of your hand and can effortlessly move forward with confidence in all your decorating decisions.

Yeah, right.

The big problem with these quizzes is that they don't really help anyone. Sure it's fun to take a quiz. We plug in a bunch of answers to some questions sprinkled with pretty pictures hoping in excitement that a miraculous discovery about ourselves will be made. That, somehow, the magazine page or computer screen will have access to our deepest, most intimate thoughts and will be able to give us something useful - some sense of identity. A greater understanding of who we are and how we relate to our homes.

I took a few of these quizzes the other day. I wanted to see who they thought I was. One quiz confused me with it's photos. I liked a picture of a dog so I selected it. And I also liked a photo of a dad and son playing outside in the grass, so I picked that too. And there was a shot of a bedroom that had bold colors. I liked the color combination. At the end of the quiz I was defined as having a predominantly "Asian" style (their words, not mine.) There is definitely nothing "Asian" happening in my place. Another quiz deemed me "French Eclectic." I'm not quite sure what that meant and wouldn't have the faintest idea how to create it. Besides, I can't pronounce French to save my life. Maybe that's the "Eclectic" part?

This is just one of the many rooms I found that calls itself "French Eclectic." Pretty, but not really me. Where's the color?

I could go on and on about these quizzes and how I think they do more harm then good, confusing us with labels, and perpetuating the useless idea that we all need to fit into some sort of style mold. But I won't, because the topic of this post is "How to Find Your Style." And I personally try to keep my posts on topic so you, the reader, can get what you came here for.

So, how do you go about finding your design style? If you don't have any quizzes to take, and no labels to attach yourself to, how can you possibly figure out who you are?

1) The first step is to slow down. No one finds their style in 10 minutes. You might realize you like a color in a few minutes, or a new textile design. Or you might page through a magazine and fall in love with an image of the most beautiful room you've ever seen. But these are only pieces. And our personal design styles are made up of many, many pieces. Pieces of memories and experiences and color preferences and travels and relationships - all those little things that make us individuals. The truth of it is, our design styles are as unique as our DNA.

2) The second step is to forget about trying to label yourself. Because we have such unique, individual styles there is no way we can all be defined by 5 or 10 different variations of design themes. Don't feel obligated to call yourself "Urban Chic" just because some quiz labeled you as such. These labels are pretty useless. They might help you search for and pull images for a blog post, but they don't define you. Nothing defines you but you.

3) The third step is to look inside ourselves for the answers. This might seem a little granola-y, but it's the truth. No one can tell you what you like or don't like. That's the beauty of design! You get to decide for yourself. You really do hold the answers to your own style. Trust yourself. Tune out the outside noise and listen to your inner voice. It knows more about your style than any quiz.

Finding your own design style isn't always easy. That's probably why so many of us don't do it. It takes time and fearlessness - two things many of us often struggle with in our day to day lives. But it really is the only way to create a home worth living in. And, who knows? Maybe you'll come up with your own label someday that accurately depicts who you are and how you live. Just promise me you won't make up another style quiz about it. We have enough of those.

How to Select Paint Colors for a Mountain Cabin

Here's my brother's cabin in Twain Harte, CA. Twain Harte is a cute little mountain community in the Sierras named after Mark Twain and Bret Harte. It's a three hour or so drive east of San Francisco and has a population of about 2,500 people. My brother and his partner purchased the property about two years ago and have been steadily working on the project, making it their perfect mountain getaway.

Although there was originally an old cabin on the property, they unfortunately had to tear it down and re-build. It was too decrepit to salvage. However, they paid homage to the original cabin design with their new construction, and did at least manage to keep the back house (which will eventually be transformed into an in-law unit) as well as some knotty pine that will be repurposed for interior wainscotting.

Naturally, when the time came to select colors for the house, I was bribed into helping. (My brother's a trained chef, so he can always successfully bribe me with a good home-cooked meal.) I had never consulted on a mountain cabin before, but was up for the challenge.

So how, exactly, do you go about selecting exterior colors for a mountain cabin? And how do you do it remotely (since there wasn't time to get to Twain Harte before the painters started painting. Doesn't that sound familiar?)

You start by asking lots of questions.

I verbally guided both of them through a polarity profile, which is basically just a way of measuring and assigning meaning to a structure or space. Did they want their cabin retreat to feel Happy or Sad? Friendly or Aloof? Open or Private? Formal or Informal? Vintage or Modern? Masculine or Feminine?

Then I had them each write up a list of characteristics that they wanted the cabin to have. They were not to discuss with each other - I was very strict about that. Fortunately, I had their complete cooperation and we ended up with two lists that were VERY similar. They wanted private, vintage-y but not kitschy, masculine, and "mountain-y."

The purpose of doing a list of desired characteristics is to help eliminate certain colors. Once you know that a color or color combination needs to be masculine as opposed to feminine, you can wipe out a ton of options. You probably aren't going for pinks and pastel anything. And private, in this instance, meant that we didn't want to draw a ton of attention to the structure. We wanted to have the cabin settle in to the deep browns and greens of the trees and earth.

The vintage-y part was a little trickier. Vintage can mean different things to different people. This is where I dumped a ton of 8x8 paper paint samples on the table and asked them what they liked. (I've learned that this process doesn't work with most clients. It's just too overwhelming. Since we've worked together on colors before, and it was family...AND it was a free consultation...I knew this approach wouldn't send them running for the door.) As we poured over the paper color samples, we determined that vintage-y meant a reference to their collection of American Arts and Crafts pottery - simplified, well-made, deep, rich and bold with a subtle flair.

After determining that a deep color was the way to go, we just had to figure out which deep color...and what would the trim be? As we pulled color samples, we took each of them outside in the sunlight. It wasn't the exact lighting we would have up at Twain Harte, but at least we were dealing with a single light source, the sun, which is much more predictable than interior lighting conditions.

We pretty quickly eliminated the green color family because there was already a preponderance of green with the surrounding trees. Not to mention, the neighbor's house across the street was green and we wanted a little more originality. After exploring violets and reds and browns, we eventually made our way to deep and somewhat muted blues, which resonated well with my "clients", supported their desired characteristics for the structure, and ultimately, their own personalities.

We finally settled on French Beret, a deep blue-grey by Benjamin Moore for the body of the house. And for the trim we went with a more traditional cabin color in the red family, Hot Apple Spice.

And just because we wanted to make things more difficult, we opted for a third color on the underside of the roof. Well, it wasn't really to make things more difficult. It just didn't feel right to use either the red or deep blue-grey. We wanted to lighten the visual weight the color that would be overhead when you're sitting on the porch. But, it did turn into an opportunity to make the exterior color scheme more complex and, I think, interesting. Unfortunately, I don't have notes on the exact color, but it's essentially a medium muted green/brown.

Here are a few more pics:

22 Tips for Selecting Colors and Materials For Your Bathroom Remodel

As an Interior Designer, I am often brought onto a project for assistance with residential bathroom designs. I think this is one of the trickiest areas of design for most homeowners...and designers! There are many materials to select, plumbing is involved, and the overhaul usually costs a pretty significant chunk of change. Needless to say, this is a space you want to get right the first time.

There are plenty of articles out there on bathroom trends, DIY tutorials and budget calculators, but when it comes to the details on how to select materials and color, I have found limited information. So, being that I'm currently working on a bathroom design project, and all this information is fresh in my head, I thought it'd be a good time to write down what I've learned from past projects. And hopefully in sharing what I have learned, I can help you make your next bathroom remodel project go more smoothly...and beautifully.

1) All Materials Have a Color

Wood, metal, windows, grout, hardware, fixtures - you name it! This is important to remember because all of these colors will ultimately impact the overall design.

2) Match Your Undertones

Not all greens work together. Not all blues work together. If you are using Verde Laguna granite on your countertop, make sure that any other green materials carry the same undertone. And if you think that you're going to avoid this whole undertones thing by using "neutrals", think again. Even beiges, ivories and whites have undertones. Some can look green, some can look grey, some can look pink. If you don't pay attention to these undertones your end design results will be "off" at best, and unbearably clashing at worst.

3) Using Natural Stone? Select Your Exact Slabs...Yourself.

Natural stone can vary greatly from slab to slab. It's in your best interest to go to the slab yard and hand pick the exact slabs you'd like to see in your bathroom. Don't leave this up to the contractor or fabricator. Choosing stone slabs is often like selecting a piece of art - very personal and subjective. What's perfect  to you, might be completely wrong to someone else.

4) Texture and Variety

A variety of textures and tile sizes will keep a bathroom from looking dull. Using 3x6 subway tile in the shower? Pop in a 1x2 brick pattern in the same tile color on your backsplash. Got a white marble countertop and floor tiles? Contrast the natural stone finish with an accent of a bold yellow pencil liner and a glass mosaic. There are many ways to add texture and variety. Look at sample boards, magazines and vendor websites for inspiration. What you don't want is a space covered entirely in one single material in one single size. Poor Travertine has been used and abused in this way in recent years.

5) View All Materials Samples Together

Best not to order anything until you have a sample of every single material in your hand, and have determined that they all work together as a whole. If you don't have all of your samples yet, wait. This is not a part of the process you want to rush.

6) Examine Materials in Different Lighting

View your samples in the actual space they will be installed. (New construction gets tricky...but my advice is to wait until the structure is built, if possible.) Lighting will change from the showroom, your car, your friend's house, etc. What looks great in one set of lighting conditions might look horrendous in another. The worst thing you can do is order materials based solely on the lighting in the tile showroom. Really bad idea.

7) Get Current Samples

Colors can change from lot to lot, especially when you are dealing with handmade tiles and natural stone. Be sure to get current samples of every material you will be using. This will take a little more time, but is well worth it.

8) Color Variation Rating

Not all products have this. It is most common with a material like slate or a product that comes in a blend of colors. The Color Variation is typically listed as V1, V2, V3, V4. The higher the rating, the higher the color variance. If there is a high variance, it's best to get your hands on a few tiles, as opposed to just one. This way you can see how the colors will vary from tile to tile.

9) Don't Forget the Grout

Make a conscious decision about the grout color that is used, and its thickness. If you want to see more tile and less grout, match the color to your tile. This is probably the most common approach these days. But there is a time and place to use contrasting grout colors...and to widen up that grout line. It creates a certain look. If that's what works in your space, go for it! 

10) Repeat Colors, Textures and Patterns

Keep a sense of continuity by repeating a tile design and color from shower to backsplash to flooring. If you have black accents in your shower, bring those same accents into your backsplash. The floor is also an opportunity to repeat patterns and colors. The idea is to have the different surface planes relate to one another instead of feeling like disparate pieces.

11) Look for Trim Pieces

When selecting a field tile, or base tile, it's a good idea to choose a line that has lots of trim pieces. If you don't have the appropriate pieces for corners, caps, etc., your tile design can end up looking sloppy.

12) Spend Money Where It Counts

Don't be afraid of really expensive decorative tile. You usually don't need much, so it's a good place to splurge. You'd be surprised what a $60 a square foot accent tile can do for your a $5 a square foot field tile.

13) Paint Color Should Not Be An Afterthought

Don't wait until the entire bathroom is completed to think about paint color. The color on the bathroom walls is just as important as the other elements. You don't need to have the exact paint color decided from the get-go, but having an idea can help tremendously when selecting all the other bathroom materials.

14) Draw It Up

There's no better way to visualize proportion and color distribution than with to-scale design drawings. Tile drawings require little more than a sharp pencil, a ruler and graph paper....and a little patience. I always draw tile designs for bathroom projects. It's a great way to explore options, share ideas with clients, and communicate with tile installers. They are also extremely helpful in deciding how to design around windows, power outlets, and shower heads, etc. (Note: they don't have to be perfect! These are typical drawings that I do for clients. They won't win any rendering awards, but they get the job done.)

15) Think About Lavatory, Toilet and Tub Colors

White is usually a first choice, but sometimes it can be too harsh. In some bathroom designs, "bisque" or "almond" is better. Or maybe black. The point it, make sure your lavatory and toilet colors work with your overall color scheme. If there's a finish sample available, get one.

16) Don't Get Style Confusion

It's important to match colors, yes, but make sure that your materials also work together stylistically. A glossy white subway tile is in a completely different style than a rustic 12" x 12" unfilled travertine. (If you get stuck with this one, call a designer!)

17) Get Inspired

Look at magazines for inspiration. Tear sheets and digital images help you communicate with your designer, contractor, etc. what you want and what you don't want. There are sooooo many design options and a picture really is worth 1000 words. Remember - you don't need to copy a design to a tee, you just need to create a vision...or at least a direction for a vision.

18) Design Holistically

Unless you're designing an outhouse, the bathroom will be surrounded by other areas in the home. It's important to consider the relationship the bathroom will have to its adjacent spaces. Try to create a cohesion between the bathroom and the rest of your home. (Again, call a designer if you need help.)

19) Educate Yourself on Materials

Basically, tile and countertop materials fall into two categories - natural stone and man-made materials. Within these two categories there are many options, from granite to limestone to solid surface to hand-painted porcelain mosaics. A designer can help you untangle the web of options, but only you can determine what you are and aren't comfortable living with. Marble can be a great countertop if you don't mind a patina over time, but isn't a great choice for those looking for a stone that will look the same in 10 years as it does the day it's installed. The more you know, the better.

20) Match Your Metals

There are a lot of metal finishes in bathrooms -  hardware, hinges, doorknobs, light fixtures, shower door, faucets, etc. Make sure that each of these finishes are considered. They don't have to all be exactly the same, but typically it's a good idea to stick with either a "gold" or "silver" - not both. (If you happen to like the two-toned gold and silver metal look, well, that's your prerogative. I have to say, it's not my favorite look. It tells me someone couldn't decide which finish to use, so they went with both. Either that, or it was on sale.)

21) Don't Rely on Colorful Towels

Many bathrooms are designed with the intention of bringing color in with the towels. No doubt towels and rugs and shower curtains are an opportunity to add a kick of color and pattern, but I never did understand this theory. Why not design the bathroom WITH color and texture so that it looks beautiful even without towels?

22) Don't Rush

Last but not least, please don't rush the project. Bad decisions are usually made when there is a time crunch. Slow down and think things through. And if you love a tile with an 8 week lead time, wait for it. It'll be worth it. What's 8 weeks when you'll be living with your new bathroom for the next 5-25 years?

Color Consultant? Color Expert? Color Psychologist? Who Does What in the World of Color Professionals

There are a lot of terms out there for people who work with color. So many that it can easily make your head spin. I thought it was time to go over the titles that color professionals give themselves and explain what these titles mean, how they differ and how to know what you're getting - or should be getting - when you hire us for a job.

Color Consultant

A Color Consultant will consult on a project working with paint and other materials for a home or business. Most often the projects are architectural, but color consulting can also cross into product design, graphic design, branding and even fashion design/consulting. An individual who calls themselves a Color Consultant working on architectural projects should have color training beyond a single course in color theory, and should, at the very least, understand paint and the effects of lighting on color perception. But this is not always the case. Anyone can call themselves a Color Consultant.

There are various color training programs available in the U.S. One such program is taught through the International Association of Color Consultants, North America. This organization trains its members in applied color psychology and human response to color. The goal of the IACC-NA is "to use color in a more effective way and create more human, user-supported environments through the educated application of color." (For me, the IACC-NA has provided a wealth of invaluable information and has allowed me to take my color consulting and design services to an entirely new level.)

Architectural Color Consultant

A Color Consultant who specializes in architectural projects. Projects can be commercial or residential; interior or exterior. Rachel Perls of Hue Consulting used to refer to herself as a Color Consultant but found that the title was too vague - she would sometimes be confused as a hair colorist or a wardrobe consultant. "Architectural" clearly implies that the individual works with buildings and that he or she has some sort of professional color and design background.

Additionally, an Architectural Color Consultant can assist with branding and company identity. Sound funny? An office building is a huge representation of a company's image. It's impossible to select colors for a business - interior or exterior - without having an impact on brand identity. And, for brand consistency, a company should consider their logos, website, etc. when approaching colors. It can be tricky to re-interpret company colors architecturally, hence the need for an Architectural Color Consultant. 

Color Designer

This term is used interchangeably with Color Consultant. Color Designer implies that a design education or experience is part of the individual's training, whether interior design, graphic design, textile design, etc.

Color Expert

A Color Expert is essentially a Color Consultant who is trained beyond basic color theory. This person should have significant practical experience with color and some sort of formal color training under their belt. Maybe the training can be substituted with extensive self-study, but this is difficult because of the preponderance of inaccurate color information. A Color Expert should be able to separate color myths from color facts and should also be able to speak about color in various disciplines. There should be a deep understanding of the psychological, biological, and cultural aspects of color and the knowledge should be applied in a practical sense, as well as theoretically.

Color Specialist

Pretty much the same as Color Expert, although this title can be confused with an individual who specializes in hair color.

Color Strategist

A Color Strategist is very similar to a Color Expert, if not the same. Approaching color from an holistic angle, this individual is most likely trained in many different color disciplines, and uses the combined skills of a designer and a planner to reach a very specific set of goals on each project.
 

Color Psychologist

In the U.S and Canada, it is unlawful to use the term "Psychologist" as part of a professional title unless you are licensed in psychology, or are working in certain sectors of the government or academia. Therefore, you probably won't see this title too often. And if you do, you might want to do a little research to check out the individual's credentials. (If any of you know about a licensed Color Psychologist, please share!)

Just because there is a rarity of Color Psychologists doesn't mean that there aren't any individuals who are trained in color psychology. There certainly are. Again, members of the IACC-NA, for example, are trained in applied color psychology. And some design schools offer courses in color psychology as part of their curriculum. But much of this color psychology education is questionable, and, oftentimes, it is this "education" that is responsible for perpetuating color myths. 

Currently, there is not a division of the American Psychological Association devoted strictly to color psychology, although there is a division for Environmental Psychology. Hopefully, in the future, color psychology will be given its own division and own set of standards and will be taken more seriously within our education system.

Color Forecaster

A color professional who focuses on color trends, mostly for marketing and branding purposes. Typically a Color Forecaster works with companies and marketing/advertising agencies on product development and branding.

Color Scientist

Someone who (most likely) has an advanced degree in Color Science and has studied color in the following disciplines: physics, chemistry, physiology, computer science, psychology and statistics. Color Science is defined by Rochester Institute of Technology's Munsell Color Science Laboratory as "the quantification of our perception of color."  Currently, RIT is the only graduate school in the U.S. devoted to the science of color. 

Colorist

An individual who works on color in motion pictures, commercials, etc. (This is fascinating, really, but too complex for me to get into. Anyone who is interested in everything a colorist is responsible for should check out this website, Final Color.) A colorist can also be an individual who adds color to comic books after the black and whites have been drawn. 

Interior Designer

There is a general belief that an Interior Designer and a Color Consultant have the same skill-set and experience when it comes to color. This is not necessarily the case. As a design professional who has been through a Bachelor program in Interior Design, I can confidently say that my education in Interior Design did not prepare me properly to be a Color Consultant...and definitely did not make me a Color Expert. Did I spec colors for projects before I went through the IACC-NA program? Certainly! That has always been part of my job as a designer. But did I do it well? Let's just say there was room for improvement...and there still is. There always will be. That's the thing about color. You'll never have all the answers because color experiences are infinite.

With that said, as long as an Interior Designer is aware of this, I think they can be amazing Color Consultants. A good designer will know that color changes under different lighting, that different clients have different preferences, and that different colors will create different moods. They will be willing to look at each projects' color design independently and objectively and will help their client find the right solutions for particular problems. If an Interior Designer starts spouting color "rules" and claims to have the perfect beige that works in any space - or if their designs are overwhelmingly devoid of color - their color knowledge is probably quite limited and the project might require a Color Consultant with more specialized color training. Interior Designers - it's ok! We're happy to help! There's room for all of us.

Interior Decorator

Essentially the same as an Interior Designer with regards to color training. The main difference could be that an Interior Designer (assuming they've gone through design school, but that's not always the case) has been educated in color theory, whereas an Interior Decorator usually has no formal design or color training.

Whew! I'm exhausted!!! This is all so confusing, isn't it? Does anyone else have anything to add? Did I miss a color professional title? Or, have I unfairly misrepresented anyone? Please add your two-cents! There are so many exceptions to what I've written here, but we've gotta start somewhere.