The word “camouflage“ has appeared so often in this space, I’ll bet many readers are confused over the exact meaning of the term. The standard definition, of course, is to disguise something – to make it look like what it isn’t. And that’s certainly a serviceable usage in the field of interior design since often it does involve the art of camouflage.
If a space has its own intrinsic interest, we try to enhance what’s already there rather than disguise it. But often a room is in need of some major changes, and that’s when the talents of the interior designer as an illusionist are especially valuable.
Since light and color are usually the basic means for making significant visual adjustments in a given setting, paint and other types of wall covering should be considered first before structural alterations or fancy furnishings.
It’s essential, however, that a designer have a firm understanding of how color and pattern affect a particular interior. Plenty of books have been written on this very subject, and I strongly suggest that anyone contemplating a camouflage operation get acquainted with at least the standard theories in this area.
That is true even if a professional designer is to be retained, since the client must have some sense of design direction if the finished product is to satisfy his or her personal tastes.
One color of paint can, for example, make a ceiling seem much lower, while another can create the illusion of height.
Contrast in colors is generally the key to obtaining a certain kind of camouflage effect. In most rooms with a standard eight-foot ceiling, the difference between the surface colors should be subtle, though not necessarily indistinguishable. To combine a dark ceiling with pale walls is almost always a mistake in such a situation, as is the opposite arrangement.
Contrast also needn’t be limited to colors. A highly polished brass object usually looks very good against a deep blue background, while a chrome metal finish sparkles attractively when juxtaposed with a burgundy surface.
Color can be especially effective in camouflaging spatial configurations. A narrow hall, for instance, will seem wider, shorter and brighter if its side walls are painted white and the end wall is done in a darker and warmer color.
Such was the strategy adopted, in part, for the setting shown here.
The console table is accentuated by the use of white paint on the wall and on the woodwork. The other walls were covered with multicolored floral wallpaper with a white background. Thus the table and accessories receive the attention they deserve.
That is true even if a professional designer is to be retained, since the client must have some sense of design direction if the finished product is to satisfy his or her personal tastes.