AN EXECUTIVE SUMMARY ABOUT HOW CHROMA WORKS
In this case study you will want to focus on two parts of the Colorographies:
When we look at Hue, we can see that all three colors belong to the Purple-Blue (PB) hue family.
When we study their Chroma, we can see that Hale Navy has the lowest Chroma value, 1.51.
Naval has a Chroma of 2.
Admiral Blue has the most Chroma of the three coming in at 4.26.
The Chroma scale draws a picture of Chroma for you so the differences are easy to see at-a-glance and understand quickly.
What the numbers indicate and what the scale illustrates is how strong and colorful these purple-blues are -or- how weak and closer to a true neutral gray they are.
Again referencing the Colorographies, you can see that Hale Navy is the weakest, it’s closer to a true neutral gray of the same intensity.
Admiral is the strongest and most colorful. It’s farther away from 0 true neutral gray.
Naval is in the middle in terms of strong or weak compared to the other two.
Just by glancing at the Chroma number and Chroma scale you can determine if a color is strong, colorful, clean, clear, vivid -or- weak, near neutral, dirty, muddy, or dull.
Ready for another case study? Let’s use a range of whites this time.
THE FUTURE IS LOOKIN’ LIGHT AND BRIGHT WITH WHITE
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Let’s compare Chroma values for these three colors.
You can see that small increments in Chromaticity can make a big difference.
All three of these whites belong to the same hue family, they’re organized in the Munsell Color System in the same hue family neighborhood.
They’re similar in Value; except Snowfall White is a lighter, brighter color by just a little bit.
Again, small incremental differences can mean a lot.
Wondering how this applies to specifying paint colors?
Well, there’s a lot you can do with it but let’s talk about one example.
Let’s say we’re looking for a wall color and a white to go with it for the trim, doors, cabinets.
I have a rule-of-thumb for Chroma. I like to see a difference of about 0.20 (ish) between white trim color and the wall color.
Let me explain.
If you want the white trim color to look white, bright, crisp and clean, then you always want your trim color to have LESS Chroma than the wall color – by about 0.20 (ish).
Or we can look at it the other way.
Your wall color needs to have MORE Chroma than the trim.
If you follow that rule of thumb, then your white trim color won’t end up looking dingy next to the wall color.
Have you figured out why it works that way?
It’s because the trim color with LESS Chroma is closer to a true neutral white than the wall color.
The wall color has more Chroma or colorfulness and the white trim color is literally more neutral; which means it’s going to look crisper and cleaner.
So in the case of these three colors, Extra White is a better choice for the trim with Moderne Gray walls because it meets my Chroma difference rule of thumb.
However, Snowfall *could* also work even though it doesn’t quite meet my 0.20 rule of thumb; it would be worth taking a look at in the space to see what it looks like.
Snowfall would be a good option for the ceiling if you didn’t want to use Moderne Gray on the ceiling too.
Extra White trim, Moderne Gray walls and a Snowfall ceiling is what I’d recommend first.
WHAT DO YOU THINK?
Are you familiar with LRV, Light Reflectance Value? (LRV scales are included in Colorographies too)
If you are, then this Chroma scale that we’re discussing should remind you of LRV.
Because fundamentally they both work the same way.
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Just like LRV, Chroma is an attribute of color that we can measure and illustrate on a scale.
Difference is the LRV scale tells you how much light a color reflects and conversely absorbs and the Chroma scale tells you how strong, colorful and clean -or- weak, neutral and muddied a color looks.
It’s that simple, Chroma tells you how strong and colorful -or- weak and muddied a color will look.
You don’t have to shuffle samples or chips to see which color is stronger/cleaner or weaker/muddier.
You don’t have to guess or struggle or worry that your “eye for color” isn’t skilled enough.
You can just reference the Chroma value on the Colorography.
Want to know the best part?
As you get more experience working with Chroma values, you organically develop more skill recognizing Chroma differences.
It becomes a reflex.
Consider it on-the-job training for your eyeballs.
Pretty freaking cool isn’t it!?
Now for the not so great part.
Unfortunately, paint manufacturers do not provide hue, value, chroma notations for their paint colors.
The only paint brand that publishes Munsell hue, value, chroma color notations in their color tools is Dunn-Edwards. (Yay! Dunn-Edwards)
That’s one of the reasons I created The Colorography Lab. You can find Chroma values for the most popular colors from all major brands in the Colorographies posted there.
The Colorography Lab is a Color Notations resource and we’re adding new colors every day. Click to check it out.
And that’s not all. In Camp Chroma I teach you everything you need to know about how to get Chroma values for anything you want – paint, finishes, exterior materials, etc. The course you want is The Four Pillars of Color. Click to learn more about it.