Smitten with her adopted city - New Orleans - from the first morning she walked through the Vieux Carré, the lines, textures, and especially the colors, inspired Elizabeth to spend over 1500 hours uncovering the secrets, layer by layer, chip by chip. The combinations, placement, hues, and intensity of the architectural color choices are visual music akin to the unique expression of jazz that developed alongside the palette. Like a singer who has perfect pitch, Elizabeth has perfect hue.
Researching imported pigments in New Orleans from 1795 to 1900 allowed her to create a color timeline giving her a unique view of the choices the Creole, French, Americans and others made when painting their buildings. Expanding and comparing this palette to other historic styles in America - especially the East Coast - differences in placement also emerged.
These discoveries build upon thirty years of professional color development and consulting in textiles and interior design to provide schemes true to a period of significance by combining her unique historic perspectives with microscopic analysis.
Palettes just based on what's pretty are offered too.
Morris & Co. J. H. Dearle, designer ca. 1902
classic pigment color / modern mix
Sherwin Williams, 1889
shutter, Oakland Plantation
red iron oxide
San Franciso plantation
colonial color placement early eighteenth century Nachitoches, LA
1898 to 2013 Round Table Club New Orleans
Creole scheme Marigny, New Orleans
past paint schemes French Quarter
exterior door Marigny, New Orleans
original 19th century doors re-grained by artist Evert Witte