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.

wallpaper / Gallier House
wallpaper / Gallier House

Morris & Co. J. H. Dearle, designer ca. 1902

red ochre
red ochre

classic pigment color / modern mix

color catalog
color catalog

Sherwin Williams, 1889

verdigris pigment
verdigris pigment

shutter, Oakland Plantation

pigment
pigment

red iron oxide

cabin interior
cabin interior

San Franciso plantation

Miss Lucy's front porch
Miss Lucy's front porch

colonial color placement early eighteenth century Nachitoches, LA

paint layers, magnified 40x's
paint layers, magnified 40x's

1898 to 2013 Round Table Club New Orleans

rendering
rendering

Creole scheme Marigny, New Orleans

mantel and stucco
mantel and stucco

past paint schemes French Quarter

flaking
flaking

exterior door Marigny, New Orleans

graining
graining

original 19th century doors re-grained by artist Evert Witte

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