No, I didn't paint the dining room. Yet. I don't know. I keep going back and forth. One day I want to paint and the next I love the current color. I can't figure out if I really want to change the color, or I'm just looking for a project! The pictures were taken with my iPhone, loaded to my PC and then here. Probably related to iPhone/PC incapatability. I wonder if I uploaded to photobucket and then put there, it would be ok. I will try. Tuesday - your granddaughter's girl-cave sounds wonderful! What a nice gift for a tween! The bedding in his room is going to change. Right now it's all black and it was originally bought a couple of years ago when we thought we were going to do the black/gold theme of his baseball team. Right now he's liking this one from serena and lily but I'm still looking around.

Well, I do not have Eternity in my house so I can't provide the kind of answer you're looking for. However, I do have a few thoughts to share that you may - or may not :) - find useful. AF-695 Eternity's hue family is blue. Here is the full hue/value/chroma color notation: 2.31B hue / 7.61 value / 0.23 chroma AF-700 Storm's hue family is yellow. 9.52 Y hue / 6.43 value / 0.12 chroma. Here's a sortable table of color notations for all the colors in the Affinity color collection. I don't do "undertones" especially with regard to paint colors because I think it's an ineffective at best, technically incorrect at worst, way to look at/think about color. For example, one probably would never guess that Storm's hue family is yellow. But it is yellow, on the cusp of green-yellow. And that's exactly why you think it reads as having " no undertones". The majority of whites and grays that people perceive as "true with no undertones" belong to a hue family in the yellow, green-yellow, green range. The Affinity deck is not arranged in any particular, technically precise spectral order. It looks like somebody just eyeballed it. So it's not correct to think that Eternity is "one down" from Storm meaning it's the same color but lighter. In addition to dissuading folks from the misleading pitfalls of "undertones", I also don't recommend cutting formulas. Because as you already know, you don't know what it's going to look like until you do it and once you start down that path, you own the gallons whether you like how they end up or not. The chroma part of the notation tells you how colorful or chromatic the color is. Eternity is already pretty low at 0.23. And its value is 7.61. My guess is lessening the colorant load, if possible at all, is going to shift the color from a "gray" category to a "white" category. Better off to just keep looking for the right light gray vs. monkeying around with cutting formulas, IMO. If you want to understand the Affinity color collection and hue families better, I suggest you reorder the deck according to the color notations. I walk you thru how to do it in this blog post and video: Put the Affinity Color Collection in Hue Family order I get more emails about that post than any other at The Land of Color. Many have told me that simple exercise of reordering the fandeck was life-changing and once they see the Affinity colors in proper hue family order they finally understand my point of view about "undertones".

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)