NCS in Interior Design
Conservation of Historic Colour Schemes
The original colour of the joinery and wall covering in this 1770 rococo style room was a vibrant red.
"Decorative historic interiors can lose their original colours over time. Overpainting and insensitive restorations can deprive a historic room of its visual and artistic values. Conservation or restoration research aimed at preserving and exposing the original fabric again result in scientific data that must be translated into a clear language for people involved, painters and paint manufacturers in particular. This is important as historic interiors usually had colour schemes and materials that are no longer in use."
The NCS Colour Tools including the NCS Colour Scan and Colour Sheets were used to identify the original colours.
"This reliable, visual reference turned out to be vital in the communication and very helpful in the discussion whether or not to reinstall this eighteenth century, striking red scheme."
Historic Paint Conservator
Blue Tortoise Conservation
An American's Passion for British Art: Paul Mellon's Legacy
The Royal Academy London
The exhibition of major works from the Paul Mellon Collection at the Yale Center for British Art celebrated the centenary of Paul Mellon, one of the greatest collectors of British Art. The project featured more than 150 diverse works, including prints, drawings, paintings, rare books and manuscripts by artists such as Reynolds, Gainsborough, Stubbs, Constable, Turner and Blake. "The exhibition design put the work into a visual context which worked in the relatively small spaces of the Royal Academy's Sackler Rooms and balanced the needs of the art itself whilst taking a cue from the collection's permanent home in the Yale Centre for British Art, designed in 1969 by the influential modernist architect Louis Kahn."
"The structural elements were pared down as was the colour scheme. We wanted to use wall colour that was sympathetic to the paintings and give them life but in the subtlest possible way because the gallery spaces were so small and the works so varied. The NCS Colour Atlas had the solution, a whole page of non chromatic (grey) and slightly chromatic (nearly grey) samples organised in eight equal steps around the colour wheel. After selecting one slightly chromatic colour for each of the six spaces we also used the NCS Atlas to select a graphics colour for each room that was the pure, bright 'parent' of the grey against which it would be seen.
The effect was that we were able to have clear legible graphics in colours that worked with the room décor and , most importantly, the combination of these were in sympathy with the art."
Karl Abeyasekera, Director, Studio A, www.studioaassociates.com
Go to The Royal Academy Website
Go to The Yale Center for British Art Website
Please e-mail with questions or comments.