It has been a while since the last activity on this thread, and I felt it might be beneficial to give my updated perspective on White Opulence #879 from Benjamin Moore as a paint color for main areas. Having lived with this color for a bit longer now since my last comment, I am beginning to understand how tightly it regulates what other colors can be placed with it for anyone who cares about a homogeneous scheme and also how undeniable the pink tone can be when applied over large surface areas. White Opulence is a tint of red, but it is so light that in ample daylight or under bright white lighting it can "read" as white. In average daylight, it produces a whisper-light pink hue. The effect of this is magnified the larger the area that is covered by it. Using this color on the walls in the main space of a large, open-plan layout with high ceilings, for example, will imbue the area with a light, yet undeniable, pale pink cast in average lighting. It would be a good idea to prepare not only yourself but also any other significant users of the space of the pink tinge before selecting this color because some people truly dislike pink, and it is courteous to work with all regular users of spaces during design planning to try to ensure no one will be overly uncomfortable with the final effect. One thing that hasn't been discussed is how White Opulence can cast a peach tone under warmer lighting colors, especially in the absence of any compensating daylight, meaning nighttime in most home spaces. If peach is a color you want to avoid and you utilize warm lighting -- that is, progressively orange-tinged the further under a 4000K color temperature you go -- then this is a paint color to avoid. The general recommendation is that 4000K is quite cool for home environments, so if you don't know what color temperature your home lighting is, you can probably assume it is warmer than 4000K if you selected average bulbs from your home supplies provider. White Opulence as a red-based white was an attractive choice for my main space because I already had a red accent in a permanent finish and personally prefer the fresh look that a red-white lends versus common alternate choices for main area wall colors like yellow-based beiges or blue-based grays. The problem is that so many home goods available are manufactured in colors that go with beige and gray wall colors rather than the faint red-white of White Opulence that color coordination requires more work than may be expected. Of course, you could decorate using pure white items, but what you really need are options for whisper pink basics which are hard to find. Adding stronger pink or red items is not always the solution either because you cannot feasibly fill the room with accents; you need some basics that blend with the wall tone. Then there is the issue of coordinating White Opulence with colors for auxiliary rooms if you wish to have some variety throughout the home while still maintaining the feel that all of the home's colors work together. Most blues coordinate with White Opulence, but if you have already used red accents in rooms painted with White Opulence, then red is challenging to pair with blue in most instances unless it is a dark, cool blue like navy. Where this has been a dilemma for me has been my hallway colors connecting the main open space to the bedrooms which are all different pastels. The color plan I have will work, and I'll enjoy the variety of colors that I have been able to make flow together, but to be honest, at times I have wondered how much easier the design process might have been if I had picked plain white for the main space. White is the ultimate neutral some might say. At the very least, a basic white for the main area would have given me more freedom in selecting fabrics and other home products for the main space as well as coordinating colors for other rooms. It is all too easy to second-guess decisions that will affect your life long-term. I am using Benjamin Moore's durable Aura formula in a satin finish, so I expect the new White Opulence paint will last decades. Had I selected a plain white or yellow- or blue-based off white, I might be back on this very forum wishing I had gone with White Opulence to add appeal beyond the standard choices. I hope this is helpful to anyone still considering this color.

Lori, Did you really refer me to a Facebook post that you wrote to defend your position? Wow - that was convincing. I am equally convinced that your $59 tool was built to exacting standards that exceed those standards that SW used to extract RGB values of their paint colors or the tools employed by encycolorpedia or EASY RGB. Everyone is doing things wrong if they are not doing it your way. CNet painted 18 samples, using real paint samples and Color Muse selected the right color 5 out of 18 times, but they are a hot mess. John the Math Guy is an expert in color science and applied mathematics. He's just consulting with large corporations to ensure their brand color is correctly printed. He isn't measuring paint color on walls, so everything he said is invalid. RGB is absolutely useless - it is machine dependent and not based on human perception of color. I'm not sure what they used in 1860 to create the color model, but I must belive that it couldn't have been human perception of color. You know they had to be primitive - they only used 3 colors of light to create the color model, unlike the cones in the human eye or the "Tri" stimulus values used by color muse. "The RGB color model itself does not define what is meant by red, green and blue colorimetrically, and so the results of mixing them are not specified as absolute, but relative to the primary colors. When the exact chromaticities of the red, green, and blue primaries are defined, the color model then becomes an absolute color space, such as sRGB or Adobe RGB". But just because I can exactly replicate a color using an RGB color space, if my tools are accurately calibrated, I should not use those values because they are machine dependent. I should just use my handy color muse, display the color on my cell phone app or computer and not be dependent on the accuracy of some machine to be certain that my evaluation of color is dead on. I will try to remember not to challenge your knowledge in the future, as you are the one and only true color expert.

Pure Neutral White, Gray and Black are colors where when a perfectly balanced light is shined on the object every color is equally absorbed or reflected. Now we have all the rest - What if your white, gray or black isn't perfectly neutral? One color or a few colors have stronger presence than the other colors and we see that color. What if your light isn't perfectly balanced? If the light is yellow it will make perfectly neutral white or gray appear yellow, if it is green, blue, violet or red it will make the neutral appear the color of the light (remember as kids placing colored cellophane over a light to make different colors? What if everything is in perfect balance, but you have some other dominant color in the space? Our rods will see the complementary color. https://www.animations.physics.unsw.edu.au/jw/light/complementary-colours.htm There is also one other factor to consider - the psychology of the color gray. We subconsciously relate blue and gray. When we are sad, we say we are blue, but in actuality we aren't blue, we are seeing less color. Dopamine is a neurotransmitter that helps us see color, makes the rods and cones more active. When we are depressed they are less active and nothing looks as bright or vibrant, everything is more gray. But we don't say I feel gray today, we say I feel blue today. The difference between brown and gray is that there is more yellow/orange/red in browns/tans. If you have to mix brown or gray from primary colors, both take all three primaries, just in different proportions. If you add more blues/greens/purples we don't have a new color - we still call it gray, but now we qualify the gray as blue gray, green gray, violet gray. If you are feeling that a gray is too blue, but still want a true gray (not a greige, beige, taupe ) you want to pick a gray that is close to the original color but one or two steps away from blue. The nice thing is that the paint companies really help us out here. 2132-60 is bluer than 2133-60 and 2134-60. Since you are close and like the color you don't have to jump from blue gray to yellow brown gray greige. You simply have to go a bit away from gray toward green. I would test 2134-60 Whitestone next. 2137-60 Gray Owl is a bit more green, but still staying firmly in the gray green family and not moving into the the more beige gray sandy colors that you don't like. Revere pewter is greige (Gray/green/beige) Pale Oak is Taupe (gray/red/beige)

@JustMe the Mt. Washington Hotel is about 40 minutes away, so we're not overlooking it. I really like that blue, and if we had a black roof (and black trim windows) that's almost certainly the route we'd go. There are several places around with that color blue, and they can look stunning. It's just not a color combo with the red roof that we'd go for. In your mock-up there's 4 different colors going on, red roof, blue clapboards, brown/bronze windows, and white trim. It feels too busy. Here's what we've mostly settled on. Sherwin-Williams Alabaster white and soffit trim painted to match window trim. (I also photoshopped in a larger window on the right, to reflect what's gone in to replace that weirdly small window that had been there) They're going to paint some panels in that and the other two warm whites I mentioned before, but we're leaning very much toward Alabaster. The configurator makes it look even more cream colored than it seems to appear in real life (2nd picture).