Primer and paint have very separate and distinct purposes and in the right situations you will need two separate products.  Paints are formulated to give you rich colors and duarbility.  Primers are formulated to solve problems (sealing porous surfaces, water stains, smoke damage, etc.) and enhance the properties of paints (color,finish & washability). 

To find out if you need a primer or if a self priming paint will work for your situation call us at one of our stores.  Primerless Paints.

Shelby Paint & Decorating- 

Shelby Township (586)739-0240

Rochester Hills (248)651-1440

Grosse Pointe Woods (313)881-0344

Provence Cream, Whisper Violet, Crisp Straw, HollingsworthGreen, Sweet Salmon and Pink Pearl color the sweet and ever-so-helplessSusan Mayer’s home. Sounds like her, doesn’t it?

Edie Britt’s home is painted in these bold, vivacious colors: Northhampton Putty, Whisper Violet, Cherry Malt, Mauve Blush (this gal hasn’t blushed in years), Touch of Pink and Shaker Beige.

Gabrielle Solis’ colors are passionate and hint at her spicy nature and even her marital infidelity. They are Dark Beige, Beeswax, Annapolis Gray, Soft Pumpkin, Acorn Yellow and Summer Peach.

A former corporate heavyweight with four children who’s now back at the office, Lynette Scavo’s home includes November Skies, Strawberry Yogurt, Beacon Gray, Cherry Malt, Melted Ice Cream (sounds like her too) and Rose Silk.

Bree Van de Kamp hosts dinner parties and domestic squabbles in her dining room painted in Arizona Tan. Her other colors are Durango Dust, Wickham Gray, Wythe Blue, Butter Pecan and Hathaway Peach, all of which look fabulous with red hair!

Maybe next time you decide to do a little painting, consider your personality and your character and choose accordingly!”

Wisteria Lane

Bree Van de Kamp, Edie Britt, GabrielleSolis, Lynette Scavo and Susan Mayer

The Colors of Desperate Housewives

Production Designer Tom Walsh takes us on a trip down Wisteria Lane, where Benjamin Moore® paint colors set the scenes and identify the characters.

“The bottom line is, design is design,” says Tom Walsh, production designer for ABC-TV’s hit show “Desperate Housewives.” “The same precepts apply in any environment. A good designer is a storyteller. Every good design begins with a concept, and designers tell the story with environments, objects and color.”

Color plays an important role in the show, says Walsh. “We’re basically using color to help tell the story. We’re doing a commercial for the suburbs. It’s a very idealized version of the suburbs, like the Eisenhower years of ‘Leave It to Beaver’ and ‘Father Knows Best.’ ”

In creating an ideal suburban neighborhood, Walsh started looking in the new developments in Southern California, but he found that most of the neighborhoods were just “too beige” to accomplish the effect he wanted for the show. So, he turned to 1950′s advertising for inspiration.

“We use Universal Studios’ “Colonial Street” for our set on Wisteria Lane, and the houses are basically a Whitman’s Sampler of Americana,” explains Tom Walsh. To unify the neighborhood and create a sense of community, he uses common elements in landscaping, color and paint. All of the houses incorporate Benjamin Moore’s Whisper Violet 2070-70 for the trim and the fences. “That not only creates the sense of continuity, but it also helps with our goal in making it clean and bright and ideal
America,” says Walsh.

“We use a lot of the same color theory, juxtaposing secondary colors and making the setting very clean and bright.” explains Walsh. “Since the lives of the show’s characters are anything but ideal, there’s actually ironic humor in that.”

“Our permanent sets are different from others in that they get more screen time,” says Tom Walsh. “Over the course of a season, viewers see more of these sets, so we need to be more complete with details.” Susan Mayer’s character as an illustrator who works from her home shows up in her surroundings. Her more feminine sensibilities also are demonstrated by the use of pastels like Benjamin Moore Provence Creme 2021-60 and Crisp Straw 2157-50.

In the initial phases of the show, Tom Walsh explains, detailed character bibles were developed, which included defined color palettes, value choices and personality quirks. The Benjamin Moore palette for the character of Lynette Scavo, a former corporate heavyweight now home with four children, includes November Skies 2128-50 and Melted Ice Cream 2095-70.

Gabrielle Solis’ foyer – in Annapolis Gray – helps define her glamorous character, a former model who married for money. Gabrielle’s living room, in Soft Pumpkin 2166-40, also shows her passionate side. The warm orange tones hint at her spicy nature and even her marital infidelity, while set pieces suggest her Hispanic Catholic background.

Character Color Palettes
In the show – a dark comedy-drama created by executive producer Marc Cherry – the perfect housewife facade hides a troubled inner life for all of the characters. “Marc wanted to pay homage to the plight of domestic relationships in America,” says Walsh. When the character of Mary Alice Young, whom all of her friends think is perfectly happy, passes on, it forces all of the remaining characters to think about the deceptiveness of appearances. Narrated by the deceased character, the show follows the lives of her five friends: Susan, Bree, Gabrielle, Lynette and Edie.

To help audiences identify the different characters quickly, Walsh devised a color palette system based on Benjamin Moore & Co. colors. “For all of the characters, we started with concept cards. We looked for colors that were intriguing, and then matched them up,” explains Walsh. These color palettes are carried out in each character’s house exterior and interior. “We use a different body color for each house based on the character’s color palette,” he adds.

With 36 permanent sets and eight to 12 new sets for any given episode, color options are important. “With [Benjamin Moore] paints, I not only have a lot of options, I have a lot of really good options,” says Walsh. “It’s always fun to go through the fan deck and get ideas. I like to collect color.”

This kind of selection allows Walsh and his team to explore and play with color to communicate ideas. “We like to have fun with it, actually,” says Walsh. “Our set is Wisteria Lane, so we like to use a shade of lavender here and there to evoke that idea. The white we use is Whisper Violet [2070-70], which has just a tinge of violet in it.” The Whisper Violet trim on every house, as well as on the picket fences in the yards, helps unify the environment.

Set Demands for Paint Durability
Walsh says that another benefit to using Benjamin Moore paints is their durability. “The set is a kind of machine, and it takes a huge beating over time, so it has to be sturdy,” explains Walsh. “We need sets that can withstand the wear and tear of the crews and their equipment. It’s a little like farming. After a while, the soil can get exhausted. All of the moving and shaking we need to do to the sets, we can do because we know the paint can withstand it.”

Now in pre-production for Season 2, Walsh says he is delighted with the show’s success. “We’re all very happy with how well the show has been received.”

The commercial for the suburbs has sold us on “Desperate Housewives.”

For more information on “Desperate Housewives,” visit www.abc.go.com/ primetime/desperate/.

Set Design vs. Interior Design
Decorating a house made for television carries some of the same considerations as designing a permanent residence (color theory and cooperation!) … and then it also has its own set of circumstances (scheduling and editing!). Here’s what “Desperate Housewives” Production Designer Tom Walsh has to say on:

SCHEDULE: “Homes can take months or even a year to design and finish,” says Walsh. “We had 21 days to go from the pilot to the first show of the series. We couldn’t wait for ordering interior furnishings. We ended up renting a lot of pieces, and now we’ve been gradually replacing the rented pieces with purchased pieces.”

BUDGET. “The issue that separates us the most under the topic of budget is related to schedule and labor,” says Walsh. “in the workplace of the commercial interior designer, more often than not there is time to finalize a plan, reflect on one’s decisions, and to then seek out multiple bids for both labor and material. In the film world, there is very little time to conceive, seldom any time to reflect, and the final process of realization is measured in hours and days rather than weeks and months. These factors all affect our budget outlook.”

COOPERATION: “Its a really collaborative medium, where we have a lot of group discussion and hashing out of ideas,” explains Walsh. “It’s a process, even with color, which I think is one of the most glorious things. People have emotional responses to color, and some conversations can get heated.”

DIGITAL EDITING: “We have a digital system for color corrections, and in post-production we can end up with totally different colors,” says Walsh. “So, we grapple with maintaining creative intent. Fortunately, we don’t really have much of an issue with that on “Desperate Housewives”. Everyone is pretty much on the same page. But, because color can induce such visceral reactions in people, sometimes bias trumps over creative intent.”

VISUAL DETAIL “We actually step away a level of detail because we don’t want a lot of visual noise distracting from the characters and their stories.”

“It’s a quick show, and we’re constantly cutting back and forth between stories,” says Tom Walsh. With that, the show uses color to aid viewers with character identification; each character has a unique palette, all based on Benjamin Moore colors.

For more information on Tom Walsh and his previous work in the entertainment industry, search for “Tom Walsh” on www.imdb.com.

Christiana Guppy is a freelance writer who lives in the Washington, D.C. metro area. You can reach her at clsguppy@yahoo.com.

Darryl Carter’s new book, The New Traditional, offers more than just a collection of photographs that exemplifies his signature style of employing textures and every tint and shade of white possible in a balanced way.  It is also brimming with Darryl’s perspective on design and life.  It could have easily been named ‘Words to Design By.”  The book is a perspective from Darryl, who is a master at reinventing space and making connections between antiques and modern design as if they were created to live beside one another in a subtle, yet striking contrast.

For example, “Toile Resource,” a collection from Thibaut, offers a traditional color palette including basics like blue on white and red on cream, but also inspires consumers with fun combinations like raspberry and ivory on French blue, and crisp green on yellow. Some designs have interesting backgrounds that are illustrated to resemble cloth, linen, and other fabrics, and many designs incorporate neutrals and earthy colors like sage and olive green, charcoal, bronze, wheat, dark gold, and burgundy, which coordinate with popular cabinetry, flooring, and countertop materials found in newer homes. Fabrics accompany the designs in this collection and can be used for window treatments, table linens, pillows, slipcovers, and bedspreads.

According to Thibaut, which is one of the oldest operating wallpaper firms in the U.S. and a leader in the production of toile designs and historic patterns, the growing interest in toile is not surprising. “It’s a great problem-solver for hard-to-decorate areas,” says Stacy Senior, marketing manager. Thibaut design experts, in fact, use toile readily in their own homes. They point out the following features and benefits:

Toile adds fine detail and color in a very subtle way.“Homeowners can be fearful of bold colors and strong patterns,” comments Senior. “Since toile is drawn with fine lines and consists of only one or two colors, it adds color and pattern without taking center stage in the room,” she explains. “It coordinates easily with other designs in the room and throughout the home,” she adds.

Toile patterns are gender-neutral. “Many couples have a hard time deciding on a pattern, especially when it comes to shared areas like the master bedroom or bathroom,” says Senior. “Men can have a ‘fear of floral,’ and women often shy away from masculine plaids or paisleys. Toile is a compromising solution as it adds texture and a type of architectural detail that is comfortable for both parties,” she explains.

Toile works well in large spaces. “Today’s new and remodeled homes feature a lot of wide, open space—big rooms with high ceilings and lots of wall to decorate,” comments Senior. “Homeowners can be unsure of how to use all this space,” she adds. “Toile can be a great option as it fills the wall with pattern, but offers a subtle effect. This allows for the addition of mirrors, pictures, shelving, window treatments, and other decorative accents. It helps bring warmth to spacious areas that might otherwise appear empty and ‘under decorated,’” she points out.

Toile instantly adds “aged charm” to a new home. “Because the designs are based on antique samples, toile can create a mature, elegant look in a bedroom or bring old farmhouse charm to a kitchen,” states Senior, “thus giving rooms character and personality.”

Toile suits either casual or formal environments, and works with many styles of décor—Traditional, Country, Victorian, etc. “The designs create a refined appearance that always looks fantastic,” says Senior, “and there are numerous motifs to choose from,” she adds. Although many depict countryside life, some tell stories about travel through Asian or African lands. Scenes typically show people at rest or play, doing chores, or journeying through villages. The scenery is usually embellished with provincial animals and birds—sheep, pheasants, or more exotic animals like elephants and giraffes. Designs can also capture a more dreamy, fanciful look, featuring cherubs, muses, scrolling vines, and ornate pillars and fountains—or be more simplistic, showing etched floral patterns interlaced with vines, fruits, berries and other foliage.

Lori Reagle, Art Director at Thibaut, says three colors are making a major statement. The first is blue. No matter what shade or tone, blue is big. In the company’s latest collection, “Repertoire,” patterns such as “Wolverhampton” feature collies and retrievers overlapping a midnight blue ground. “Herald,” a metallic fluer de lie pattern, features a slate blue ground. These darker hues create a sense of calm and comfort in larger, open rooms. On the other hand, lighter tones like the sky blue found in the “Geraniums” design or the sea glass blue of the “Jardinière” pattern from Thibaut’s “Piccadilly” collection lend a sense of openness to smaller rooms.

Reagle also sees popularity in orange and red in spicy color hues. The muted nutmeg-colored “Fortress” design in Repertoire, as well as the hot paprika-colored “Indienne Paisley” design consist of stylish color hues that are debuting not only in home décor but also on fashion runways. Recent shifts in the use of earthen materials like slate and stone make this color palette user friendly in homes today. Orange and red provide the sense of a warm embrace that welcomes all who enter a room. “Warmth emanates from this color group,” says Reagle.

While Reagle sees oranges taking a muted tone, browns are bold when tastefully paired with pewter and gold metallic accents as seen in the “Bee” or “Jackson” designs from the “Repertoire” collection. Reminiscent of the 1920’s, the brown and gold pairing adds a touch of glamour and chic elegance.

While Reagle and her team design with color trends in mind, the ease of use is what inspires them to use a particular color palette. As a rule of thumb, the Thibaut design studio focuses on colors that compliment and enhance antique and new home furnishings and styles. She also stresses the importance of sticking with classic color groups. “While some trend observers note fuchsia as the new ‘it’ color, most people don’t have any use for such a color in their homes. When experimenting with color, it is most important to stick with colors you believe to work best for you and your home,” advises Reagle.

Besides the interesting patterns, rich colors in the collection liven up plain, ordinary walls, and the designs coordinate readily with other fabrics and wallpapers in the home. The earthy palette includes wheat, eggplant, coral, coffee, sage, moss green, and steel blue, while a brighter palette incorporates clean green, lavender, pink, soft yellow, Chinese red, celery and chambray. Hints of metallic gold, copper and taupe can be found in many designs. These accents add a flattering touch as they pick up on faucets, light fixtures, and drapery or cabinetry hardware in the room.