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S h e r w i n - W i l l i a m s® W h e r e C o l o r a n d C r e a t i v i t y C o n v e r g e V o l u m e 6 • I s s u e 2 • 2 0 0 9

s t i r


Mural Mural on the Wall

Local inspiration meets durable materials in Seattle.

The Secrets Behind Colorful Cocktails


Tinted Primers Explained

The Sherwin-Williams Company

STIR Advisory Board

Director, Trade Communications: Tresa Makowski Director of Color Marketing: Jackie Jordan

Glen Boudreaux, ASID, RID, IDEC Glen Boudreaux & Associates Dallas, Texas

Hanley Wood Marketing Executive Editor: Bryan Iwamoto Editorial Director: Dobby Gibson Editor: Kim Palmer Executive Art Director: Sandy Girard Senior Editor: Mara Hess Production Director: Pam Mundstock Production Artist: Karen Wolcenski Project Manager: Courtney Miner Client Services: Sheila Harris STIR® magazine (ISSN 1937-2027) is published by Hanley Wood, LLC, on behalf of The Sherwin-Williams Company, for interior designers and architects. We welcome your questions and comments. Please direct correspondence to: Sherwin-Williams STIR magazine Hanley Wood 430 1st Ave. N., Suite 550 Minneapolis, MN 55401 Phone: (612) 338-8300 Fax: (612) 338-7044 E-mail: Web site: Click on Contact Us at

Laura Culver Laura’s Loft Studio Interiors/Colour Connextions Hamilton, Ontario, Canada Kathy Davis, CID, IACC/NA Kathy Davis Associates, Inc. Solana Beach, Calif. Jill Lambert Lavallee Brensinger Architects Manchester, N.H. Michael Scott, IDS, Allied ASID Robb & Stucky Interiors Scottsdale, Ariz. Zara Stender, CID, IDS, Allied ASID, CMG ZaraDesigns Las Vegas, Nev. Abby Suckle, FAIA, LEED Abby Suckle Architects New York, N.Y.

Printed in the United States, © 2009 Sherwin-Williams, Vol. 6. Issue 2, 2009

Order large-size color samples at Download color palettes into AutoCAD and Photoshop at Download BIM Revit Color Models at For product or compliance questions, call 800-321-8194

Simplicity Reigns


ave you ever referred to a particular color as “of the moment”? When you stop and think about it, though, a fresh-seeming color is defined just as much by the way it responds to yesterday’s tastes as it is by our aspirations for the future. This year’s Sherwin-Williams colormix™ color forecast is a testimony to color’s powerful ability to reinterpret our surroundings and span time. We live in an era of uncertainty, which is inspiring many of us to create counterbalancing, comforting spaces. We’re re-examining our lives, wrapping our arms around what is truly important and letting the rest go. It’s giving rise to a cleaner aesthetic, one built from rediscovered heirlooms, the roots of ancient cultures or a reawakening to nature — all inspirations for colormix two-thousand-ten. The colormix forecast is once again the work of a talented, international team from Sherwin-Williams that includes four members of the Color Marketing Group. The team includes, in addition to me, color marketing experts Becky Ralich Spak and Christie Del Ciotto; Kathy Andersson, an expert in the area of color marketing for product finishes; and Carol B. Derov, an expert in international color and design. This year I’m also pleased to welcome to the team Christy Almond, operating vice president, design and merchandising, Robert Allen. Christy’s presence is part of our exciting collaboration with The Robert Allen Group, a leading designer of fabrics and furnishings (see p. 3). To save you time and effort, we have simplified the selection of wall color and fabrics by placing Sherwin-Williams color tools in Robert Allen | Beacon Hill’s 18 showrooms and providing coordinated color palettes for Robert Allen Color Library fabric collections. You can learn more online at There’s much more exciting news to come from Sherwin-Williams and STIR magazine in 2010, so stay tuned. For now, I hope you enjoy this issue. Sincerely,

Jackie Jordan Director of Color Marketing The Sherwin-Williams Company The trademarks and copyrights of Sherwin-Williams appearing in STIR are protected. All other trademarks are the property of their respective owners.

c o n t e n t s

S h e r w i n - Wi l l i a m s®

s t i r


Volume 6 • Issue 2 • 2009












The Sherwin-Williams ColorSnap iPhone app matches color instantly.

Award-winning “mixologist” Scott Beattie shares the secrets of color in cocktail creation.

Hyatt Hotels debuts green, feel-good suites for extendedstay guests.

When it comes to coverage, you need to consider paint color, not just paint quality.

2 REINTERPRETING THE SPECTRUM Shades of simplicity will color our world in the year ahead with SherwinWilliams colormix™ two-thousand-ten.








Final touch

A designer creates a color compromise for a couple with seemingly irreconcilable differences.

Toronto’s Sustainability Studio brings eco-friendly design resources together under one roof.

The body art of the Surma and Mursi tribes of Ethiopia’s Omo Valley.





on the cover

TIMELESS COLOR How a Seattle artist used a unique coating to create an architectural mural that’s as durable as it is beautiful.


10 Sherwin-Williams

Stir 1

Color news and solutions from Sherwin-Williams

Mobile Matching Sherwin-Williams ColorSnap™ iPhone app matches color instantly. If you have a mobile phone with a camera, you’ve no doubt wished you could take a picture of something — a furnishing, an artwork or a painted surface — and retrieve a matching paint color. Now you can, thanks to ColorSnap, a new Apple iPhone application from Sherwin-Williams. Whenever color inspiration strikes, you can use the app to capture hues from your surroundings and instantly get the closest matching Sherwin-Williams color and coordinating palette. You can save the palette for future reference, get RGB values or locate the nearest SherwinWilliams store. ColorSnap, which is free, is available for download at




photograph by Roger Tully


New Color Studio in the

Big Apple

the exciting new space, located in manhattan’s d&d Building, is part of a national collaboration between sherwin-williams and robert allen | Beacon hill. Sherwin-Williams has opened a new color studio in New york City’s Decoration and Design (D&D) building as part of its multifaceted collaboration with the robert allen group, a leading designer of fabrics and furnishings. the “studio within a studio” is dedicated to helping designers make fresh, fast color selections using Sherwin-Williams color tools while coordinating fabrics using samples from robert allen. “Finding new ways to combine color has always been one of my favorite stages of the design process,” says Christy almond, operating vice president of design and merchandising for robert allen. “our work with Sherwin-Williams will enable us to share some of the color inspirations behind our collections, as well as create a complete color and design resource center for the design community.”

While the color studio in the D&D building is an exciting first for Sherwin-Williams in New york City, the SherwinWilliams collaboration with robert allen offers tools and inspiration for designers from coast to coast. SherwinWilliams now has a presence in more than a dozen robert allen | beacon hill showrooms nationwide and is providing dedicated, coordinated color cards for robert allen fabric lines. “We’re also going to be co-hosting color-related events in robert allen showrooms across the country,” says Jackie Jordan, director of color marketing for Sherwin-Williams. “We’ve already done events in boston, VIEW ColoR AND FABRIC Chicago and CollECTIoNS oNlINE los angeles.”

Color-Chip Couture


For more on the color and fabric collections, and to view the color cards, go to and click on Resources.

FaShioN photography by beN QuilliNaN

A fashion fundraiser inspires high design. Earlier this year, the International Interior Design Association held its second annual fashion show, a fundraiser benefiting the Wellness Community, a nonprofit organization dedicated to supporting families battling cancer. Thirty-four design teams were paired with manufacturers to create an outfit using a specific color and one of the four elements: earth, water, air or fire. Two student design teams — one from Arizona State University and one from the Art Institute of Phoenix — teamed up with Sherwin-Williams to use discontinued product samples to create their dresses.


Stir 3

C o l o r m i xTM


Reinterpreting the


The many shades of simplicity will color our world in the year ahead with Sherwin-Williams colormix™ two-thousand-ten.

Oceanside SW 6496

Foothills SW 7514

Nomadic Desert SW 6107

Darkroom SW 7083

by Kim Palmer

preferences all blend to create a palette that is uniquely ours. Yet today’s new realities have distilled our vision into a common theme. Our color yearnings are now part of a deeper desire: to get back to basics, to re-evaluate and simplify our complex lives, embracing what’s most important to us and letting go of the rest. “We haven’t lost our individuality,” says Jackie Jordan, director of color marketing for Sherwin-Williams. “Our thirst for simplicity is simply playing out in individualized ways.” To some, simplicity means embracing a timeless, pared-down aesthetic. To others, it means looking back to age-old cultures with deep, sturdy roots. Some are rediscovering the imperfect beauty of cherished heirlooms and handcrafting, while others are savoring the simple yet vibrant joys of the natural world around us. Taking cues Whatever simplicity means to you, Sherwin-Williams colormix from nature means honoring two-thousand-ten offers a shortcut — simplifying the choices to the most essential help you create spaces that enhance the way we live today.




formative elements.

photography by Lars hansen

Our response to color is never simple. Past experiences, present influences and personal


Mystery, Enduring, Natural

Rookwood Amber SW 2817

Red Tomato SW 6607

It’s human instinct to seek the safety of the tribe. In today’s complicated world, there’s something deeply satisfying about re-exploring the world’s oldest, most enduring cultures. African, Aboriginal and Native American influences are converging to create a new tribal style with a drumbeat all its own. The colors are rich and earthy, with a hint of mystery. The appeal is as natural as the elements.

Elements • Animal prints and skins • Bone, feather and fringe accents • Ombré, tie-dye and ethnic patterns • Hammered finishes • African and Native American influences


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C o l o r m i xTM

Magnetic Gray SW 7058




Moderate White SW 6140


Enigma SW 6018

Whitetail SW 7103

Serious Gray SW 6256

Butter Up SW 6681


Translucent, Sophisticated, Structure “Simplicity is the ultimate sophistication.” That timeless wisdom from Leonardo da Vinci is now a modern mantra. Less is clearly the new more. But the aesthetic is artful rather than austere, with well-tailored lines and sheer, translucent materials that reveal shape and structure. Clarity and integrity are critical. We need to know and trust what we’re bringing into our environments. The hues are calm, subtle and nuanced, with undertones that shift according to their surroundings, for easy versatility.

Elements • Clean silhouettes • Translucent layers • Transparent materials • Midcentury modern, Scandinavian and Japanese influences • Tailored upholstery • Soft matte or glazed finishes

Sometimes there is nothing more sophisticated than simple, shimmering clarity.

Mix It Up There are endless ways to put your unique, creative spin on colormix two-thousand-ten. And Sherwin-Williams offers color tools to make it easy: • Order colormix color cards at or call 800-321-8194. • Download colormix color palettes into AutoCAD and Photoshop at • Download colormix 3D Color Models into BIM applications at Sherwin-Williams

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C o l o r m i xTM



Aging, Layers, Artisan

Smoky Blue SW 7604

Sequin SW 6394

A throwaway society? That’s so yesterday. We’re now making savvy, resourceful use of what we have, discovering untold stories in exposed, painted layers. From flea-market finds to artisanmade pieces, imperfection can lend rich character to our environments. The palette reflects the beauty of natural aging, mellowing and weathering, evoking quality materials that have stood the test of time and become heirlooms.

Elements • Weathered and bleached woods • Oxidized metals • Loose threads • Distressed textures • Vintage patinas




Caribbean Coral SW 2854

Interactive Cream SW 6113

Gallery Green SW 0015

Objects that stand the test of time reveal sturdy, reassuring colors.

Sturdy Brown SW 6097


Exuberant, Fresh, Optimisn Tropical blooms. Sunny days. Playful exploration. It’s time to take a vacation and let our cares melt away. Happy spaces are here again, bringing fresh florals, bright juicy colors and exuberant combinations. It’s the kaleidoscopic spirit of the ’60s married to the jewel tones of the ’80s, with a global twist. Cultural influences and motifs mingle freely, creating a bohemian mosaic that sings in perfect harmony.

Vibrant, floral tones have a rejuvenating power.


Elements • Nature-inspired motifs • Floral patterns and prints • High-gloss finishes • Light, natural wood tones • Unexpected color combinations

learn more

For a behind-the-scenes look at what influences and inspires the colormix forecast, go to


All fabrics and trim shown in these pages are courtesy of Robert Allen.

Animated Coral SW 6878

Pickle SW 6725

Fun Yellow SW 6908

Sapphire SW 6963


Summer Day SW 6662

Stir 9

Verve Violet SW 6979



An outdoor mural is designed to weather the elements. by Charlotte Stoudt


he new city hall in Shoreline, Wash., is a model of sustainability, featuring a green roof, recycled-content materials and an on-site solar-demonstration project. But one of the

structure’s most striking elements, a huge piece of exterior artwork, also turned out to be a

Photograph by Chris Roberts

surprisingly green design choice.




Colors Impetuous (SW 6916) Fusion (SW 6919) Citronella (SW 6915) Basque Green (SW 6246) Lime Rickey (SW 6717) Organic Green (SW 6732) Alabaster (SW 7008) Eminent Bronze (SW 6412)

Coating Sherwin-Williams Bond-Plex速


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The success of the piece, to Beaumont, is its simplicity: “For me, ‘green’ means Delight quickly gave way to problem-solving: how to paint something both lyrical and durable. As Beaumont notes wryly, “Given the weather here, we don’t exactly do much mural work.”

Good chemistry So how to create a durable, painted mural on aluminum? After a bit of research, Beaumont discovered the answer in nearby Seattle’s Museum of Flight. The museum’s original contractor, Tim DiBiase of Seattle-based Grund and Company, told Beaumont that on some architectural features, the museum used Kynar, a resin used as a long-life base, top-coated with Sherwin-Williams Bond-Plex®. This combination would provide superior durability. With its extra bonding agent, Bond-Plex is ideal for hard-to-coat surfaces such as Kynar-treated metal. “It creates minimal odor, doesn’t cost a lot, inhibits rust and is fairly forgiving,” says DiBiase. And Beaumont was pleased to discover that Bond-Plex is low-VOC (volatile organic compounds). “Sherwin-Williams created a paint that has incredible adhesion and an environmentally responsible formula,” she says. The bare aluminum panels, 10 feet by 3 feet and 5 by 3, arrived around Christmas 2008, and Beaumont went straight to work in her studio. “The construction schedule was tight. Basically, I had two months to cover 1,000 square feet,” she says. “I was painting day and night.” For Beaumont, capturing the vibrancy of the blooms was critical. “The blossoms first come out in this luminous lime color. Then they become cream. Then white, with a fruity purple at the center.” She found a range of Bond-Plex colors to use (see box), then created some of her own. “Linda came in quite a few times to mix new colors,” laughs Britt Osteraa, sales associate at Seattle’s downtown Sherwin-Williams store. Drawing directly onto the panels, Beaumont hoped the immediacy of freehand would suggest the evanescence of the delicate blooms. The sense of floral life exploding into being had to extend across the borders of each metal rectangle. “I didn’t want the panels ‘interrupting’ a flower,” she says. The result is a striking, playful cascade of Wonderland-sized flowers. Bennett says Beaumont achieved “an exceptional result. Linda gave the building a richness of surface it wouldn’t have had otherwise.” The success of the piece, to Beaumont, is its simplicity: “For me, ‘green’ means reining in our ambitions, making do with less. If I’d done this piece in glass, it would have meant going all the way to Germany for the materials. But painting is so simply done. And the guys who make the panels are a couple of miles away. To me, that simplicity is the essence of green.” n Charlotte Stoudt writes regularly for the Los Angeles Times.




Photograph on left by Chris Roberts, Photograph on Right by Eduardo Calderon

“Limelight” is a free-form mural, painted on large interlocking aluminum panels, that meanders up the façade of the elegant, LEEDcertified glass and aluminum building. This bold take on a public art project reflects the collaborative spirit between an inventive artist and an imaginative architect. LMN Architects of Seattle envisioned some kind of art piece integrated with the building and landscaping. Randal Bennett, principal then with LMN, now with ZGF Architects, had been struck by the swirling terrazzo floor of the city hall in nearby Bellevue, Wash. Its creator, artist Linda Beaumont, was contacted and ultimately selected for the commission. The builders first wanted a work with an evergreen motif. But Beaumont soon changed their minds. “Linda told us a story about taking shortcuts through the woods here when she was a child, and encountering these blossoming dogwoods,” Bennett says. “It was a very poetic image.” Beaumont says she was also inspired by the context of the building, which sits on an old highway where billboards and exotic dance clubs vie with remnants of the forest. The Pacific dogwood’s fragile blossoms suggest “a longing for a world that’s being consumed, disappearing,” Beaumont says. She called the project “Limelight,” after the green glow of the dogwood buds and to honor Shoreline coming into its own with this innovative civic site. Early in the project, the architects suggested a work in glass. But funding was limited, and Beaumont also felt a glass art installation would be too dark to be seen during the day. Then Bennett suggested painting straight onto the building. Beaumont was stunned, then delighted. She loved the notion of people moving through the glass corridors alongside giant flowers.

reining in our ambitions, making do with less.�

Sherwin-Williams Bond-Plex was used to create a mural durable enough to withstand Seattle’s famous weather.


S t i r 13


palettes Mix master Scott Beattie distills the secrets of his color-infused cocktails.




Photography by Steven Rothfeld, Location courtesy of CADE Estate Winery, napa Valley, CA,, cocktail photography by sara remington

b y Kim P a l m e r

Scott Beattie is a bartender the way Michelangelo was a ceiling painter. Beattie doesn’t merely mix drinks; he creates artwork in a glass. As bar manager for Cyrus Restaurant in California’s Sonoma Valley, his dramatic twists on classic cocktails earned him national fame, including raves in Gourmet magazine. His new book, Artisanal Cocktails (Ten Speed Press), features 50 recipes inspired by wine country’s organic farms and boutique distilleries. Beattie, now a cocktail caterer and consultant (, talks to STIR about what’s in his shaker. STIR: How do you define an “artisanal cocktail”? SB: I focus on using natural, high-quality ingredients: lots of small-batch artisanal spirits, fresh seasonal produce and fresh-squeezed juices. Here in California we have access to so much, but with the Internet and farmer’s markets, everyone has more access to betterquality fruit and produce. I also have a strong focus on measuring everything. It’s pretty important. A quarter ounce here or there can really affect the taste. STIR: You’ve been called a “bar chef.” How is that different from a bartender? SB: I don’t like the term. I’m perfectly happy being a bartender. But the idea of the book was to spark some interest in using culinary techniques — like dehydrating fruit, pickling vegetables, making foams and learning how to cut things — techniques that chefs have used for years. I wanted to show the possibilities and potential for making culinary drinks. STIR: How do you approach color when creating a cocktail? SB: I do a lot of natural staining, using beet juice, turmeric, yellow beets and blueberries. I like to use ginger; on its own, it doesn’t have much color, but when you stain it with beet juice, it’s vibrant. Color is important because it makes an impression. Cyrus [the restaurant where he created most of his recipes] has two Michelin stars. The first thing most people do when they come in is have a cocktail. It has to be different, dramatic and interesting. That involves color. And it has to taste amazing. STIR: The recipes in the book are organized by season. Do you try to create seasonal color palettes as well? SB: Yes. In fall, I definitely do fall colors — reds and yellows. Many of the colors come from what is seasonally available.

STIR: What’s the most challenging color to create in a drink? SB: Blue. It doesn’t occur often in nature. There’s a lot of purple. But if you want true blue, it’s tough to get, without having it look artificial. Blue liquid is associated with toilet bowl cleaner. Most blue drinks use Blue Curacao, which is artificially colored. I use borage flowers. STIR: Color-wise, what’s your favorite drink? SB: The Pomiranian, made with spiced pomegranate juice. I love the bright-red color. If you’ve ever cut into [a pomegranate], you know how powerful that juice is. Squeeze your own pomegranate juice if you can get your hands on them. STIR: What color do you not like to see in a drink? SB: Green. It’s the color of sour apple martinis and Midori sours, which are artificially flavored and colored — the antithesis of a natural cocktail. If you see green in a drink, it better be green herbs or cucumber slices. If the liquid part of the drink is a bright green, chances are it’s not naturally that color. STIR: If you want to give a drink a big visual impact, what’s the best way to do it? SB: With flowers. It’s great to identify a few edible flowers that you can use in cocktails, like marigolds, borage flowers and basil flowers. STIR: Can you go too far, and make a drink that’s too gaudy? SB: I’ve been accused of that, especially by traditional purists. The Wall Street Journal said my drinks were like “hammy vaudevillians,” that they were way too much. Yes, they’re theatrical, but every ingredient there has a purpose. n Kim Palmer is the editor of STIR.


S t i r 15

Pomiranian Perfect for autumn. Makes 1 cocktail. • 10 to 15 peppermint leaves • 3/4 ounce Hangar One mandarin orange blossom vodka • 3/4 ounce vodka • 1/2 ounce freshly squeezed lime juice • 3/4 ounce spiced pomegranate juice (see recipe) • 1/4 ounce simple syrup • Black-eyed Susan petals, cut into chiffonade • Peppermint sprig, for garnish • Amaranth spear, for garnish Place the peppermint in the bottom of a mixing glass and tap a few times with a muddler. Add the vodkas, juices and simple syrup and stir well. Add a small pinch of black-eyed Susan threads and enough ice to fill the mixing glass, cover, and shake a few times. Pour into a tall Collins glass and garnish with the peppermint sprig, amaranth spear and a few more threads of black-eyed Susan.

Spiced Pomegranate Juice Makes 1-1/3 cups (enough for about 14 cocktails) • 4 large, ripe pomegranates or 1-1/3 cups 100 percent pomegranate juice • 1 drop essential oil of cardamom • 1 drop essential oil of nutmeg • 1 drop essential oil of black pepper Juice the pomegranates using a manual or electric juicer. Strain the juice through a fine mesh strainer to remove any solids. Place the juice and the essential oils in an airtight container and shake well to combine. The juice will keep for up to one week refrigerated in the airtight container. Recipes reprinted with permission from Artisanal Cocktails by Scott Beattie, published by Ten Speed Press.


learn more

To view additional recipes, go to






A designer creates a color compromise for a couple with seemingly irreconcilable differences.

by Kimi Eisele


hey say love is blind. But not when it comes to wall color. Newlyweds Jeff and Kayla Gomes were eager to decorate their new townhouse on Hawaii’s Oahu Island. But there was a hitch: They were far apart on the color spectrum.

“My husband and I are polar opposites. I wanted bright colors, and he wanted

subdued colors,” says Kayla. The couple tried creating their own compromise but

Photography by Hal lum

soon got stuck. Jeff even bought some paint in red and brown and tried to do it himself. “But I didn’t know how to put it together,” he says.


S t i r 17

So the Gomeses hired interior designer Patti Bruce ( to help them find common ground. To get started, Bruce gave Jeff and Kayla what she gives all of her clients: homework. “I have them go through magazines, tearing out pictures and marking things up. I want to know what they like and why, and also what they don’t like — everything from furniture to fabric to color,” Bruce says. The process is critical for helping clients imagine the possibilities for their space — and helping her create a design that reflects their unique personal style, Bruce says. It’s

to an aesthetic popular on the islands that incorporates tropical themes; earth-tone colors; and bamboo, rattan or grass materials. “We both wanted to take risks,” she says. “We didn’t want something traditional. We wanted to show our creativity.” The trouble was they wanted to show it with different colors. Jeff chose sample designs that were monochromatic, while Kayla chose a lot of bold patterns, high-contrast designs and strong colors. “When Kayla found a photograph of a room with bright green walls, Jeff rolled his eyes,” Bruce recalls. Bruce’s challenge was to find a way to

“We didn’t want something traditional. We wanted to show our creativity.” particularly useful for couples with dissimilar tastes. When people select images from magazines, they begin to piece together elements of their own style, often without realizing it, she says. “They can see something and say, ‘I like that, and I like that,’ but it’s amorphous. Their homework helps me define who they are. I end up showing them what their style is.”

Make It Modern The Gomeses had some common ground on which to build: Both wanted a modern look. “No Hawaiiana,” Kayla says, referring

marry Jeff’s and Kayla’s divergent tastes into a cohesive design. The key turned out to be a colorful piece of artwork in the living room, which Jeff had purchased before he and Kayla married. The art — a vibrant photographic collage of river rocks, flowers, a cave and other natural elements — offered Bruce something organic to work with and gave her an “open door” to use Kayla’s choice of green (Impetuous SW 6916). Still, Bruce says, she needed to use bold color in a sophisticated, understated way. “I didn’t want Jeff to come in and say, ‘Oh, this house is so full of color, it makes me dizzy.’” Bruce says

she reminded Jeff and Kayla that, much like a relationship, interior design is ultimately about the big picture. Knowing Jeff was nervous about the green wall, she focused her attention on the rest of the house: the draperies, the floor, the accessories. Another magazine image the couple had both chosen showed a room with a long, dark gray drape. So Bruce chose the same gray color (Iron Ore SW 7069) for the wall adjacent to the green. “It helped to balance and tone down the green wall, so that when you walk in, it doesn’t pop out at you and scream, ‘I’m lime green!’ But still it punches it up and adds interest,” she says. For the family room, Bruce used a neutral palette of light gray (Dovetail SW 7018) with white (Elder White SW 7014) trim, then added color through accessories, such as pillows and storage boxes. Bruce chose Sherwin-Williams Duration Home® washable coatings because of their low-VOC (volatile organic compounds) content. “It’s a good coverage paint,” she says, adding she’s been “thinking green” for years. Making decisions about the other design elements showed Kayla and Jeff how the colors helped unify the design. “I presented it to them as a whole package,” Bruce says. “And then [they] have to trust.” The Gomeses are glad they did. “Overall, it came out great,” Jeff says. “There was some compromise. But that’s marriage!” n Kimi Eisele is a freelance writer in Tucson, Ariz., who recently completed her first novel.

Helping Clients compromise Creating a home design for a couple with disparate taste requires vision and patience. Oahu-based designer Patti Bruce offers the following advice: Do the homework. Bruce asks her clients to go through magazines to find designs they like. “It shows them how both of their ideas can be incorporated,” she says. “Couples usually do have a common thread somewhere; the trick is discovering it.” It takes two. “It’s important to make clients feel that both of their wants are important,” Bruce says. Keep the faith. Encourage clients to have confidence that the individual design elements can be married into a beautiful whole. Ultimately, Bruce says, “They have to trust in the designer to execute [their] dreams.”




Coating Sherwin-Williams Duration Home速 Colors Dovetail (SW 7018) Elder White (SW 7014) Impetuous (SW 6916) Iron Ore (SW 7069)

The family room uses Dovetail (SW 7018) and Elder White (SW 7014) accented with bright pillows and a green floor lamp.


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g o i n g

G r e e n

Home suite Home Hyatt Hotels debuts green, feel-good suites for extended-stay guests. b y J ennife r B laise K r a m e r

The kitchen’s sage green is a custom mix. Each suite uses higher-end materials, including granite countertops.

All walls were painted using Sherwin-Williams ProGreenTM 200.

The layout is open and familiar — like a contemporary home.


yatt Hotels have always had a reputation for luxury and style, so when the company saw an opportunity to enter the typically utilitarian extended-stay market, it wanted to change things up a bit. After acquiring Summerfield Suites in 2006, Hyatt opened the doors in November to its new Hyatt Summerfield Suites prototype in Sandy, Utah, a suburb of Salt Lake City, offering guests a cutting-edge, eco-friendly home away from home. “We wanted to create an aspirational experience that not only makes guests feel comfortable, but that pushes the envelope and makes them say, ‘Wow, I wish my own home looked like this!’” says Al Williams, vice president of design and construction for Hyatt Summerfield Suites and Hyatt Place. Color was crucial to the suites’ look and feel, so Hyatt steered away from generic hotel shades, opting for rejuvenating colors. The bathrooms are drenched in a light blue (Blue Horizon SW 6497) for a watery spa-like feel. The bedrooms are warmed up in a yellow glow (Golden Fleece




SW 6388), and the kitchen has a custom-mixed sage green accent wall, which helps “bring the outdoors in,” Williams says. Usually hotel-room kitchens are tucked in a windowless corner, but Hyatt flipped the floor plan to keep the kitchen window-side, and added a modern bench to the dining table instead of the traditional four chairs. This layout allows guests to walk through the front door into the living room as they would at home. “Typically, the first sensory experience is visual, and that has to establish a warm, residential but not dated look,” Williams says. Wanting both forward-thinking colors and forward-thinking paint, Hyatt Summerfield Suites — which has a brand standard of using only low-VOC (volatile organic compounds) coatings — chose the SherwinWilliams ProGreen™ 200 line for durability and consistency. Eco-friendly features are incorporated throughout the hotel, from automatic dimmers to an energy-management system that presets the thermostat so if a guest is out skiing all day, the temperature levels out, then bounces

“We wanted to create an aspirational experience that not only makes guests feel comfortable, but that pushes the envelope and makes them say,

‘Wow, I wish my own home looked like this!’”

The bathrooms’ spa-like feel is partly courtesy of Blue Horizon (SW 6497) .

Everything from bedding to shelving is designed for comfort. The bedrooms are painted in Golden Fleece (SW 6388).

back when he or she walks in. A large, natural-gas fireplace warms the lobby where guests gather for breakfast and happy hours. This gathering spot, along with a food market and Internet cafe, gives the hotel a “neighborhood feel,” which appeals to business travelers who visit frequently and might encounter a familiar face. But the hotel’s biggest draw are the suites, which are filled with high-end materials, including granite countertops, sleek glass shower doors and tables that aren’t mass-produced. Everything from bedding to shelving is designed for comfort. “The suites are intended to feel like home, with colors that aren’t bland, but that you might put in your house,” says Jeff Olpin, general manager, Hyatt Summerfield Suites Salt Lake City/Sandy. Kevin Ludlow, owner of the Salt Lake property, agrees that having a comfortable, colorful room is essential to travelers at the end of the day. “You walk in and feel like you could live there a long time,” he says. n

Up-to-the-Minute Green Guide State laws regulating the VOC (volatile organic compounds) content in paint and other finishes are as variable as paint color. “The laws are constantly evolving,” says Steve Revnew, director of marketing, product development for Sherwin-Williams. To help you keep up, Sherwin-Williams has created an up-to-the-minute online resource where you can download the latest information. The Sherwin-Williams LEED and VOC Coatings Reference Guide is updated continually to reflect the most recent LEED, OTC, CARB, NAHB and other guidelines. The guide also provides a list of compliant coatings for a multitude of applications. To download the guide, as well as a continually updated map and listing of VOC regulations by state, go to

Jennifer Blaise Kramer has written for the Boston Globe and Boston magazine.


S t i r 21

G o i n g

G r e e n


Green Minds Meet Toronto’s Sustainability Studio brings eco-friendly design resources together under one roof.


oing green is all about the greater good, but the spark that ignited a landmark project in Canada was a desire for more personal integrity. “The impetus was a selfish one,” says Anthony Watanabe, president and CEO of the Innovolve Group, a sustainability consultancy in Toronto. “We were driven out of frustration that we didn’t have an office that reflected our values. We’d talk about health and sustainability, then go back to our very brown office.” So after an extensive search, Innovolve found a new downtown building that met its criteria, then commissioned HOK Architects, Toronto, to design a stylish and sustainable office environment. Keeping it green presented both a responsibility and an opportunity, Watanabe says. Innovolve and HOK made sure to include systems and products that conserve energy and water and ensure indoor air quality. But they also took it a step further and incorporated some cutting-edge green design elements, such as demountable interior walls that allow low-impact space reconfiguration, and recycled-content tiles that hang from the ceiling, absorbing sound without blocking the abundant natural light.




Innovolve recruited like-minded partners to collaborate on the project and take space in the mixed-use building. “The office was so fantastic we couldn’t keep it to ourselves; we had to share,” Watanabe says. The result: Sustainability Studio (, a community of organizations with a passion for bringing green into the mainstream. Innovolve chose Sherwin-Williams to be its exclusive paint partner. “Sherwin-Williams had the most green products of all the companies we considered,” Watanabe says. “That’s one measure of innovation and commitment. That’s leadership.” And green leadership is a priority at the Studio, where activities include informal monthly “Idea Jams,” a “Change Lab” to support green knowledge development, and sustainability mentorships to help startup companies go green. The Studio, which opened in May, is already generating buzz in the local design community, says Laurey Fawcett, SherwinWilliams architectural account executive. “Architects are talking about it. There’s a lot of excitement.” Innovolve’s desire for a greener headquarters ultimately created a vibrant Toronto hub for sustainable design. “It has grown into something far beyond ourselves,” Watanabe says. n

Photography by Stacey Bradford

by Kim Palmer

Simply Modern Sustainability Studio is housed in a sleek, contemporary building with floor-to-ceiling glass on three sides. That clean, modern structure helped inspire the interior’s minimalist color palette. The walls are painted Simple White (SW 7021) with Sherwin-Williams Harmony® Interior Latex, which has zero VOCs (volatile organic compounds). Light French Gray (SW 0055) is used as an accent. Trim and molding are painted with Sherwin-Williams Duration Home®, chosen for its low-VOC formulation and superior washability. Orange seating adds punch to the palette.

“Sherwin-Williams had the most green products of all the companies we considered,” Watanabe says.


S t i r 23

c o l o r

t e c h

Hue and Hide

When it comes to paint coverage, all colors are not created equal. Steve Revnew, director of marketing, product development at Sherwin-Williams, explains what design professionals need to know. by Kim Palmer

(P5) S W 6 3 0 7 Fine Wine

(P6 ) SW 6926 Lucky Green

Q: We know that paint quality has a big impact on coverage, but what role does paint color play? A: All colors have different degrees of opacity or transparency, which determine the way they reflect light. Opaque paint colors tend to obscure the color of the surface, while transparent colors tend to allow the surface to show through. Q: So which paint colors are more challenging in terms of coverage? A: Bright, clean yellows, oranges and reds. Those pigments tend to be more transparent in nature. Q: What about a bright, clean blue? A: It’s the same issue. Any primary color that’s really clean tends to be more transparent. You get more hide when you add muted colorants, such as iron oxides or black. In general, muted, grayed-off or duller colors have better hide. Q: What should designers keep in mind when choosing paint colors? A: Some colors can cover a surface in one coat, but many can’t. If you look at some paint companies’ color palettes, often the colors have been “dirtied up” for optimized hide. If a company says its paint can hide in one




S W 6 4 9 6 O c e a nsi d e

coat, the colors generally are not bright and clean. Q: If you want to use a bright, clean color, what can you do to maximize hide? A: Sherwin-Williams Color Prime® System is the best way to ensure the best possible hide. The Color Prime System includes six gray shades for tinting primers that have been matched up scientifically to optimize color.

The Sherwin-Williams Color Prime® System uses six gray primer shades tinted to optimize different colors.

Q: What about primer that has been tinted with the topcoat? A: Conventional wisdom says you should use a white primer or one tinted with the topcoat color. But primer tinted to the right shade of gray creates the ideal balance of light absorption and reflection, which gives you superior hide. Bold, vivid hues reach their true color in fewer coats when applied over a gray-tinted basecoat. Q: How should you determine which gray shade to use? A: Just check the back of your SherwinWilliams color chip. If a gray-shade primer is recommended, it will be coded — P1 for the lightest gray, through P6 for the darkest — to tell you which shade of gray your primer should be tinted. n


Online Resources

For more information, visit products/colorprime_primer. pdf.

Photograph by Lars Hansen


f i n a l

T o u c h

Tribal Flair The Surma and Mursi tribes of Ethiopia’s Omo Valley live in one of the most war-torn regions of the world. Despite their surroundings — and also because of them — their ancient tradition of body painting and elaborate adornment persists. This region of East Africa, which is home to abundant wildflowers and fruit, has inspired these nomadic tribespeople to develop the delightfully spontaneous practice of using their own bodies as canvases. Whether decorating their hair with butterfly wings or painting themselves with pigments made from powdered stone, the Surma and Mursi use their colorful surroundings as an open invitation to turn themselves into works of art. You can read and see more in the book Natural Fashion: Tribal Decoration from Africa (Thames

© Hans Silvester, courtesy Marlborough Gallery, New York

& Hudson) by photographer Hans Silvester.


Stir 1

Sherwin-Williams 400 1st Ave. N., Ste. 200 Minneapolis, MN 55401



Inspiration that falls right into your lap. Find inspiration. Deepen your color knowledge. Learn more about paint. Go to the STIR Web site to browse back issues, subscribe to our e-mail newsletter, and follow the new STIR Twitter feed, @stirmagazine. It’s business-building information for design professionals — and it’s free. ©2009 The Sherwin-Williams Company

STIR 6.2 2009  

STIR magazine from Sherwin-Williams Volume 6 Issue 2, 2009.

STIR 6.2 2009  

STIR magazine from Sherwin-Williams Volume 6 Issue 2, 2009.