Artworks Chancel Grey Collection

About

Most people who choose Chancel Grey arrive at it the same way. They held a white sample against the wall, found it colder or harder than they had pictured, and wanted the same quietness with the edge taken off. Original Style call this their softest grey — soft enough, they say, to be used instead of white where a pale, neutral tone is wanted. That is exactly the job it does. It is not a white with grey in it; it is a grey pale enough to stand where a white would. Shop the Artworks Chancel Grey Collection Eighteen shapes are stocked here. The flat formats run from the Field Tile and Half Tile through the Large Brick and both bevelled metros, in 150x75mm and 75x75mm. The finishing pieces are the Skirting Tile, the Plain Cornice and the External Corner Trim. Then ten mouldings — Victoria, Egg & Dart, Dentil, Rope, Albert, Hogarth, Scroll, Sigma, Astragal and Omega — so a wall can be taken from skirting to cornice without leaving the colour. All eighteen share the 152mm module, which is why the horizontals line through wherever they meet. The pale end of a family we now hold complete Original Style note that this colour sits happily with most of the range, including the other greys and black. Artworks runs to six greys and neutrals and we stock and have catalogued every one: Chancel Grey at the pale end, then Westminster Grey a shade darker, London Stone the warm one, Charcoal Grey dark but not solid, Jet Black the deepest glaze they make, and the metallic Platinum. A graded scheme — a soft field with a darker dado, or a black skirting beneath a pale wall — can be drawn entirely from one range, in one module, with mouldings to match at every level. Choosing the grout On a glaze this pale the joint settles one question: how much of the grid you want to see. Matched close to the tile, the joints all but disappear and the wall reads as one soft surface, which is usually the reason for choosing this over a white. A shade or two darker draws the grid on purpose and turn