Short Answer: The apps are a toys not tools. Gadgets that can not, will not ever deliver tangible color information in any way shape or form. They are not "color matching" devices. You can play with it and come up with different color combinations that you might never have come up with on your own and then fashion those color ideas into actual paint colors, but the language the apps are speaking is not the same language for in-real-life paint color and chips. And it has nothing to do with white points or whatever else someone might come up with. Whether the white point is perfectly set to where they tell you it needs to be set or not, whether everything is calibrated they way it suppose to be or not -- it doesn't matter. It's still not the same color space as paint color. Long Answer: The iPhone screen, a TV, or a monitor emits light. That means that kind of color you see from that kind of equipment or gadget is additive color. A paint chip is a piece of paper printed with ink. The chip is a light hosting vehicle that absorbs some light wavelengths and reflects some for your vision system to see, register, and compute as a paint color. That's called subtractive color. In some circles it is also known as "multiplicative color". Additive and subtractive are two different modes of appearance to the human vision system. They are relative, they have some things in common, but they can never be equal or be the same or look literally, exactly the same. Additive is beamed light - there's *nothing* between light beams and your eyeballs. With subtractive you have to consider the materials or substance *in between* the beam of light and your eyeball. i.e. a paint chip or a wall. That material or substance (i.e. a paint chip) is like a layover for the light beams. Some wavelengths will stay and will be absorbed, and some will move on and will be reflected and then go on to make the connection with your eyeballs. Your vision system and the wavelengths make color. Color is made in the eyeballs; color is an attribute of the human vision system. It can be argued in certain terms of physics that color is a property or result of light and not so much to do with the human vision system per se. But the apps are from BenM and SW and they sell paint for human environments. So, that means we should be looking at the apps not from a physics point of view but from a consideration for the human visual system -- the place where color is a sensation, an experience, and is *made*.

But not any blue: you need a silvery blue…make sure your you have chrome or brushed chrome for you faucets, knobs, lighting... B.M Silver Cloud I want to make sure you have typed in the right paint color.. There is gray timber wolf and timber wolf. Why? Don’t ask….it is like B.M. White Dove and B.M. Dove White. 16002126-50

Great job of narrowing down the colors! Chelsea Gray HC-168 is a great neutral gray that’s popular for exteriors. Cinder AF-705 takes on a purplish hue in comparison to Chelsea Gray however can work with your navy door. Geddy Gray CW-720 is very similar to Chelsea Gray which also makes it a great, and a safe choice. Be sure to view it next to your door to ensure there’s enough contrast between the gray and the blue. Good luck!

Hi Lori, Color chip is a great tool to narrow down your color choices. When you’ve narrowed it down to a few finalists, pint samples are there to help you. We recommend painting a poster size board and move it around the room to see how light and other surrounding environment effects the color. View it in the morning, afternoon and at night with your lights on. Switch out to another color and which one you like better. That doesn't answer the question. You started out labeling the color chips with "bluer undertones" and "redder undertones" when they were compared to each other. Then when another set of colors were introduced to the mix, when the context for a narrow one-on-one comparison was changed, you changed how you categorized Stonington to "subtle yellow tones" when paired with blues. And that begs the question, so what about when it's not paired with blues? So, if depending on context, Stonington can have "bluer undertones" or "subtle yellow tones" why assign absolute "undertones" or "tones" in the first place? And "Sea Froth 2107-60 looks redder next to Barren Plain" but we don't get any more clarification about Barren Plain's attributes specifically. When asked to clarify, your solution is to go buy samples, paint them, and move them around the room. Because now - all of sudden - the light matters. Whereas when you were so definitively labeling and categorizing the colors by bluer undertones, redder undertones and yellow tones the light wasn't a factor --- then. .... but now it is. Apparently the only way out is to randomly go buy samples, shuffle through the painted boards and hope one of the colors in the stack works. At least I think that's what you're saying. (And just to be clear none of this has anything to do with Color DNA. Color DNA refers to color measurements and resulting spectral data/color data values.)