Carolyn Rebuffel Flannery, Workroom C (https://workroomc.com/): Benjamin Moore: Super White, Linen White, White Dove, Decorator’s White
How would you describe your design aesthetic? Home as a haven; peace, simplicity and beauty that resonates with each client’s lifestyle. We strive to craft designs that are inspired, savvy, and practical, and that promote a sense of calm and comfort. We specialize in designing homes for busy families looking for a soothing retreat to call their own.
What advice would you give to homeowners about choosing whites? My top four faves and why: Super White — when there is tons of light; Linen White — super-complimentary in traditional settings and works well with antiques; White Dove — softer than Super White and friendly to other colors; and Decorator’s White — works almost all of the time, in all different lighting conditions.
We put together a blog post listing our top 10 favorite whites, along with a short description of each one’s color undertones, with links to each on the Benjamin Moore website.
Do you have a project/story that demonstrates an unexpected or particularly spectacular use of white? I did have one project where we tried about 15 different whites and ended up using two of the fifteen. That was a crazy project…!
Recently, I moved into a new house, and I realized that this is the third time that I’ve moved into a new house and painted the whole entire interior white! For me, personally, painting the entire house white gives me the perfect jumping off point for art and pattern play, and layering all of that together. My first two homes were very traditional. One house had been built in 1912, the other was a Spanish Mediterranean.
In both of those, Linen White worked all the way through. Linen white is a softer, more traditional white. The house I just moved into is darker, so I’m using White Dove, which brightens it up.
For clients, if I can talk them into being bolder with fabrics and cabinet color choices, then I like white because it’s a great backdrop. But, if I specify a sofa in a very snazzy fabric, that tends to make people more nervous than if I paint their wall a bold color.
Still, I’d rather do a snazzy sofa, patterned pillows, patterned drapes — big, little, and medium patterns and pillow sizes, and paint the walls white. As a designer, you always make your boldest suggestion first, and then you adjust. In theory, white doesn’t really seem like it would be a bold suggestion, but it is.
We recently interviewed a number of prominent Bay Area interior designers on their favorite shades of white for painting interiors. In this post, Laura Martin Bovard weighs in.
Laura Martin Bovard, LMB Interiors (www.lmbinteriors.com): Benjamin Moore White Dove
How would you describe your design aesthetic? Curated chic; a warm approach to modern; with an emphasis on layers, textures, handmade, and authentic.
We believe having a beautiful home supports us in living a beautiful life. We take our clients’ vision, who they are and who they are becoming, and channel that into an environment that is welcoming, inspiring, and restorative.
What advice would you give to homeowners about choosing whites? Benjamin Moore’s White Dove is our absolute favorite go-to white. You almost can’t go wrong with White Dove no matter what environment it’s in. It’s warm, clean, and pairs well in modern, traditional, and transitional interiors. That said, sometimes people like a warmer white. Recently we specified a warmer white for a client, Feather Down.
Whites can be very interesting! Layering whites can be a really breathy, beautiful, cloudlike way of creating richness and depth, especially if you want to do an all-white house. There is one architectural genre where all white is traditionally acceptable, and expected, and that would be a Spanish Mediterranean — which is often all white with a darker accent color on the trim.
Do you have a project/story that demonstrates an unexpected or particularly spectacular use of white? Whites can be very tricky because a lot of people will think white is just white, and then they’ll pick any old white, and then when you put it up it’s very cold and jarring, you discover it’s got way too much blue in it, or too much yellow.
I wouldn’t paint any interior all-white unless it was Modern. I wouldn’t paint a traditional home all white, with the exception of when we are highlighting art collections. The austerity of a modern place asks for an all-white palette, and even then, I’d rather use Edgecomb Gray with a white trim — which is what I did in my own house.
And then I went back through and painted all the trim Edgecomb Gray to match — a detail my husband wanted because matching trim is a more traditional translation of Modern. Then again, I’m really loving Pale Oak these days as an alternative to Edgecomb Gray.
We recently interviewed a number of prominent Bay Area interior designers on their favorite shades of white for painting interiors. In this post, Mead Quin weighs in.
Interior Designer Mead Quin
Mead Quin, Emeryville (www.meadquindesign.com) All White by Farrow and Ball, and Simply White by Benjamin Moore
How would you describe your design aesthetic? Beauty Simplified is our brand essence. We believe less is more. We love creating thoughtful, restrained, elegant spaces that are timeless and serene.
What advice would you give to homeowners about choosing whites? I love white because of its modern, clean and quiet characteristics. For me personally, as a painter, it feels like a beautiful blank canvas to start my work on. A common concern is that white will feel cold and sterile. Thankfully, there are a million shades and our clients trust us to recommend the right one that will keep their home feeling warm and inviting.
We often select white for clients who collect art. In this circumstance, it is important to find a neutral shade, not too cool or too warm, so that the white walls support the art rather than detract from it. It also supports the home feeling like a welcoming space rather than an art gallery.
In one of the homes where we are currently working, we just went through the exercise of selecting a neutral, overall color. The house has very high ceilings where one room opens up to the next. While tempted to go with one of our favorites, Benjamin Moore Simply White, we decided to go with a pale taupe/grey, Benjamin Moore Classic Gray, to create a feeling of coziness. The result was perfect. Everything feels fresh and light yet is still warm and inviting.
Do you have a project/story that demonstrates an unexpected or particularly spectacular use of white? We recently published a project in Interiors magazine (photos of that project are included in this blog post); the client had an unbelievable collection of art. It was particularly important to find a quiet, neutral white that would feature rather than compete with the art in any way.
Surface preparation, power washing, and getting the right contractor on the job are all things that should be taken into consideration when you are planning to paint your home. Your exterior paint is an investment. We are not speaking solely on a financial level here either. New paint helps with the aesthetics of your home, but most importantly it protects your home. It protects the building from moisture, bug invasion, and prolongs the life of the siding. These are all very important jobs which is why finding the right paint and contractor is important.
While we might have gotten off topic a bit, we thought it was important for you to realize the importance of your paint choices. How long does exterior house paint last? Well, that depends on a few factors such as the environment the paint is enduring. Also, the products used are important as well as the age of the home. A general rule of thumb though is that your paint job should last at least 5 years before you are looking at painting again. Some paints last longer.
While you are thinking about getting your house painted you should keep in mind that there are many types of paints out there. You should educate yourself and ask a contractor what they recommend for your dwelling. Not all paint is made for the very surface that your siding is made of. In fact, there was a time when we couldn’t paint vinyl siding for example. However, the painting industry has come a long way and now it is very possible and less costly than putting on all new siding.
Be sure that you choose a very good quality or premium paint. Now, this will be more costly but this paint is made to last and endure the elements.
What type of siding you have will determine the type of paint you will need. Some of these paints are more expensive than others. Paint for a wood sided house would be around $65 per gallon.
Invest in a good painting company.
Not all painting companies are the same. Take your time to look around for reviews and recommendations online. Ask around on social media about who people might recommend. It is important that you find a licensed and insured painting contractor that will show up and complete the job as requested. Be careful out there, there are a lot of companies that don’t care about their reputation. They will paint your home and have it looking great but in 2 years you find it starting to peel and prematurely aged. This is because they didn’t put forth the effort to surface prep as they should have.
The exterior of your home should be pressure washed, re-caulked, sanded, and sealed before new paint goes on. This are important steps that aren’t always done by painting contractors. They should take the time to scrape and sand on the surfaces that need it. If board replacement is necessary, they should address that as well. Surface prep is the most important step in the painting process and needs the most attention to detail. Without it your painting job won’t last long and you’ll have to do it all over again.
The gloss and sheen in paint isn’t something that everyone understands. This isn’t something that many people think about either. However, the gloss and sheen of paint is something that certainly impacts the final look and builds atmosphere. It is not complicated to differentiate the two, however, most people don’t even think about it. As such, we would like to take a look and dive deeper into what gloss and sheen mean to your paint selection.
Let’s take a look at how the Sheen and Gloss are Measured. They are measured a little differently. The sheen of the paint is measured at an 85° angle. This can be very different depending on the gloss. The lower the gloss the more noticeable the sheen. However, the gloss of the paint is measured at a 60° angle to the receptor. This is important when considering what type of lighting you’ll need in the room. The receptor will measure the gloss on a scale from 1-100. The shinier the surface the higher the number on the scale.
However, the sheen of the paint is measured at an 85° angle. This can be very different depending on the gloss. The lower the gloss the more noticeable the sheen.
Both of these values should be included with your paint information so that you can make the right paint selection for your particular project. This information is available on every color of the paint out there.
What to choose for a gloss and sheen in your paint.
When you are looking for the paint you need to keep some things in mind. While it might be obvious that the color is important, the gloss and sheen are as well. Take into consideration the lighting of the room, the window placement, performance expectations, and the traffic level. Here’s when you should use low gloss and sheen:
When the walls have many imperfections. The less visible the imperfections will be with a lower gloss and sheen.
Space doesn’t need or want attention such as a ceiling or small hallway.
If the room has a lot of light. The higher the gloss and sheen the more reflective the paint will be with the light. Rooms with high gloss will have excessive glare and will be mirror-like.
When should you use higher gloss and sheen paint?
There are certain scenarios where high gloss paint should be used. This style of paint is perfect for accents and smaller rooms. If you are looking at your paint choices and the room in which you plan to paint, keep some of these ideas in mind that will work well with glossy type paint.
Rooms with low lighting and perfect walls are the perfect combination for the need for higher gloss and sheen.
Places that are high traffic such as bathrooms and kids’ rooms where people are touching the walls a lot. High gloss paint tends to be easier to clean and maintain. It typically has higher durability and wears as well.
In a room that could use a little depth. Glossy paint can add a certain “pop” to the features in a room. Oftentimes we will see glossy paint used on the trim and around doorways. This gives that wall a bit of a “pop” that it wouldn’t otherwise have.
While glossy paint is easy to clean and maintain there are certain additives that higher-end paints will put into their paint to help with its durability. This is why it is important to purchase paint that is quality; so that it will last longer. This allows the user to love the paint at all sheen levels and not have to worry about long term care of it, simply based on the gloss and sheen.
Paint labels
While the paint industry does agree on how to measure gloss and sheen by the standards it is given. It doesn’t always express the gloss and sheen the same. Many times people don’t read the measurements that the manufacturer provides but simply look at the name that the manufacturer calls it. You can purchase paint in gloss, semi-gloss, satin gloss, flat, and among other names that describe the gloss and sheen of that particular paint. However, what one manufacturer calls “glossy” might be what another one considers “semi-glossy” and there isn’t a scientific way about these names. So, you will see this vary from paint brand to paint brand.
Here are the definitions of some of the various paint descriptions.
Glossy – Is a very high gloss product with a high light reflection.
Semi-Gloss -This is a less glossy surface that is still high gloss and comes with a few different names such as pearl, medium luster, and semi-gloss, depending on the manufacturer.
Satin-This paint is less reflective in nature. It is sometimes called eggshell, low luster, velvet, or low sheen.
Flat-has a matte-like finish and carries very little reflective effect.
It is important that you take into consideration the traffic of the room, the way the room’s lighting is and what look you are going for. We work with clients on their actual projects to get them the sheen and gloss that will fit that specific project. It is old school in thinking that the higher the sheen the easier it is to maintain and keep clean with all of the various additives that can be used in paint. If you are working on a project, you should take into consideration these things before choosing paint. The sheen and gloss can be different for each wall, depending on your needs. These paints can all come in the same color but have a very different look when applied to the wall.
Get some live examples.
If you aren’t sure what type of paint you need or this gloss and sheen thing seems a bit over the top, be sure to ask your painting expert for some samples. This will allow you to see for yourself the actual difference in the levels of gloss and sheen. Many places have charts that can show you the difference between one and another. This allows you to get a better understanding of the different levels out there. Sheen and Gloss are affected in both exterior and interior paints. It is just another aspect to consider when you are looking at paint options.
Carolyn Rebuffel Flannery, Principal Designer of Interior Design Firm Workroom C, based in Emeryville, offers her brand of “inspired, practical design” to clients throughout the Bay Area. With that mission comes the textiles she custom-creates to help implement her visions, making homes simply more beautiful — and colorful! We sat down with the busy designer in her light-filled studio to learn more about her creative process.
One aspect of what you do is to custom-designed patterned fabrics for your clients. Where do you get your inspiration? Going to museums! That’s one place, but I see pattern everywhere! Sometimes I will make notes about a pattern that I see, in art, in nature, that I feel like I want to do something with. Also: when there’s a pattern in my head and I can’t find it! For example, I designed my own “mattress ticking,” because I think that ticking should be in any color. You can easily find it in red, blue, or black, but not yellow, bright green, or orange!
How do you decide on the names for your patterns? My husband and I have four kids (ages 23, 21, 20, and 19). They inspire me in many ways. All of the patterns I’ve created are named after girls that are in my family, and the families of all of the creative people I’m working with. We have three daughters; they all have patterns. We didn’t name one after my son; Connor doesn’t mind!
How does your process for creating a pattern work? I start with a sketch and then, because pattern making has an interesting component of being creative, but also, you’re making choices and extrapolating. Whether you do a half-drop (a pattern that repeats in an uneven way such that if you cut it in half, the two sides would be offset) or a mirror-image, or just a very simple curve. For example, if we take a Moroccan-tile kind of pattern, getting that curve to do exactly what I want it to do, drawing it so that the line is not too thick or thin, so that the element is not too big or small: first I’m sketching it, then I’m playing with how it extrapolates out, then refining, and refining. Next, I turn it into a vector file for digital printing. Then comes testing the colors. I know, this is the color I want, but how is it going to translate on to this particular fabric? Digital image versus woven material printing is very different. Ink sits on top of a fabric. But I want the result to feel as organic as possible — as organic as a digital process can be — so I’m looking at how to meld a vision that is creative and flowy and organic with technology that is a little more rigid.
Workroom C patterned fabrics. Photo credit: Eric Zepeda
So you are trying to replicate the look and feel of hand-woven patterned textiles? Yes! That doodle that turns into a pattern — we play with the texture of the doodle so that it ends up printing in a way that looks more woven. We may try to make the pattern look as if it was drawn by hand. It’s almost like distressing blue jeans — distressed digital drawings. So we make lines that are not exact. We deliberately do not use the tools available in digital that would make it perfectly straight or even. We want variation.
Your aesthetic is beautiful, and you emphasize ease and livability. It makes sense that you might aim for the exact right amount of imperfection. Can you say more about this? Raising four kids, you learn quickly that nothing is perfect. Everything is messy. If something is already a little bit messy, I think it wears better. Not that we are deliberately adding stains to fabric! If you can sense a quality of handmade, I think that creates more ease. To have everything perfect and exactly aligned, that feels uncomfortable to me. For example, handmade tiles from Fireclay are much more attractive to me than those from a company whose tile is machine-made and has that rigid exactitude. Fireclay tile has more of a hand in it. One of the reasons I did this in the first place was that I hate wasting fabric. When you have a fabric that has a giant repeat (the primary pattern or shape that is repeated) it ends up that you can only make one 20-inch pillow with one yard. Giant repeats are great for drapes and duvets. But when you’re making pillows with it, you have to waste a lot of yardage to have the pillows be identical. If I can ‘contain’ the repeat, I waste less fabric. You will notice that my patterns are much more regular. I won’t do a floral with a repeat that goes on for 30 inches in every direction. Also, custom coloring with traditional textile producers is really expensive and has large yardage minimums. When I create a pattern, I can print just one yard. I can do it in any color. I have a giant book of colors. So we can do a test swatch when we are making design decisions, and I’ve kept the project cost down.
Workroom C patterned fabrics. Photo credit: Eric Zepeda What are the requirements for getting test swatches from a big distributor? They usually have a three-to-five-yard minimum, with a long lead time for custom color, and then there is usually a per-yard surcharge. We can do this inexpensively and a lot faster, with more ability to customize. If the client and I fall in love with one of those large repeat textiles, I will sometimes talk them into pillows that are not perfectly centered. Or we do pillows that have all matching fronts with that single repeat, but the backs are done in a different pattern. The backs are all the same, but fronts and backs won’t match.
Because if it will cost you so much money to match and align everything perfectly, then let’s mix it up and mess it up a little bit! Obviously, if there’s a giant peacock in the middle of the fabric, you really can’t cut off his head, so you have to work around what you have chosen. When I look at a big expansive fabric pattern, I want it to be draperies. I want to see the repeat. That is my own aesthetic need — which is probably weird!
We don’t think you are weird! We love your aesthetic. Surely your clients choose you for it. How do you introduce the idea of a pattern to them, custom or otherwise? I usually bring in a few different ideas during the initial client meetings. During that phase, I am looking at what they are gravitating towards. I give the person a stack of fabrics and I say: “Throw out what you hate, and hand me what you love.” That’s a jumping off point for me. One client said she didn’t want any pattern on anything because she felt patterns were too dissonant for her. Texture was fine, tone-on-tone was fine, but anything further, she didn’t want it. So, she did not choose any patterns that were not tone-on-tone, but we did use some great, punchy wall color in the bedroom, dining room, and living room. And a fantastic black crystal chandelier over the dining table. The final design relied on color and eye-catching art for the drama rather than any pattern play.
Carolyn Rebuffel. Photo credit: Lily Dong
How would you describe your personal aesthetic? What patterns do you prefer? I’m more drawn to regular repeats. When a pattern meanders, I long for something that’s regular; I find a regular pattern comforting. I like how I can see something new in it. I think that it’s much more powerful to use a piece of art as a large visual element that has different things you are invited to look at — in my room designs, I would rather see be drawn in in that way by the art in the home, rather than by images in the fabrics. One of my daughters says I’m very matchy-matchy and I should loosen up a little bit! It’s true. I’m very inclined towards symmetrical, and I want everything to match. As long as it’s not perfect — so that’s where I’m more relaxed, in a way. Because I want to see and feel the variation that exists in the hand, and in nature.
Over the years, in writing our newsletter (which is also posted on this blog) we have interviewed and hosted guest blogs by numerous brilliant and talented Bay Area interior designers and landscape architects, sharing their wisdom on how to make our homes beautiful, inside and out.
This post is an opportunity for us to collect links to all of these articles in one place and share them with you! And if you are not already on our e-newsletter or snail-mail newsletter list, please reach out to us and let us know. Send a message to [email protected] or sign up via the contact form on our website: craftsmanpainters.com/contact. Please include your physical address if you would like to receive the print version.
Feng Shui is an art and a science. There are different forms practiced throughout the East including in Tibet, India, and China. Each version holds the fundamental concept that “placement” or arranging of the objects invites the natural world into our homes or any space through the “Five Elements” to calm, nourish, and personalized, nature-inspired interiors. The two words, “Feng Shui” translated are “Wind” and “Water,” which together symbolize flow.
The primary tool used is the Feng Shui “Bagua” (see below). The Bagua is laid over like a map onto any property or home/building based on the location of the front entrance. Each area of the house holds the energies of one of the 5 elements. Placement of furniture, art, etc., is critical to evoking the qualities of that element. The practice of Feng Shui also includes loving your environment, because doing so invites more of what you love into your space and makes it sacred.
There are many layers to creating healthy Feng Shui and include de-cluttering, placement (furniture, art, etc), lighting, fragrance, color, landscaping, re-models and home offices.
Color is a key factor in Feng Shui. It can be applied to represent one of the Five elements (Earth, Fire, Water, Air, Spirit), but should also be chosen in consideration of the space and the energies that need to be cultivated there. For example, in the master bedroom, a yang or “active” color like bright orange or red is not recommended, because bedrooms are primarily for sleep (and romance). A soothing light green Benjamin Moore Budding Green CSP 790 or Peaceful Garden CSP 830 may be ideal.
There are many layers to healthy Feng Shui, including de-cluttering, object placement, lighting, fragrance, color, and landscaping. Feng Shui principles are employed through basic principles of design for a home or office remodel from the beginning or utilizing “cures” to correct areas that may not be easily conformable to the ideal Feng Shui placement and principles.
BASIC FENG SHUI TIPS
Ensure that your front entrance is easy to find and keep it bright, tidy, and welcoming
Use a foyer table in the entry to provide a welcoming and beautiful area to receive your family and guests
Desks and beds should always be in the “command position” (facing the door)
Beds, if at all possible, should not go under a window
Keep bathroom doors closed
Choose a good “flow color” to connect the common areas of the home or office
Utilize personalized or nature-inspired art
Use stove cooktop in the kitchen regularly and keep it clean
Clean the walkway: Pressure-wash the walkway, then replace damaged pavers or bricks, or just flip them over. If any pavers are sticking up too high, raise them, remove a little dirt, and drop them back in place. On concrete walkways fill in cracks with a masonry crack filler that matches the color of your concrete.
Spruce up the front door: Probe the weather stripping around the door with a screwdriver and caulk any post-winter gaps before tightening hinges that may have come loose due to shifts in temperature.
Clean windows and screens: Caulk any gaps in the framing and check that the mechanics are working by opening and closing each window a few times. Wash windows with a vinegar-ammonia solution first, then with water only. Dry with a squeegee.
Quick tip: Wash windows on a cloudy day. Otherwise, the sun may dry the solution too soon, leaving streaks. While you’re cleaning, evaluate how your windows have fared through the winter. Look for signs of dry rot or water damage. Check the seals around windows as well, and re-caulk, re-paint , or replace damaged weather stripping where needed. This will go a long way toward keeping the hot air out and the cool air in as the weather gets warmer. Finally, clean your window screens, inspect them, repair any damage, and reinstall them in your windows. Use a hose and mild detergent, but don’t pressure wash them — the force of the spray can damage them. You can repair damaged screens with a kit you can purchase at most home improvement or hardware stores.
Inspect your roof: A quick look at your roof and home’s exterior could reveal minor problems that have begun over the winter, which you can have repaired before they become major issues. Check for misaligned, cracked, or missing shingles, all of which can let water seep in. Also check flashing (those metal pieces where the shingles meet places like your chimney) for rust and inspect the caulk around pipes or skylights to be sure it hasn’t cracked. Inspect the chimney and the joints between the bricks or stones for pieces that have fallen out or have vegetation growing in them. Both could be signs of water problems.
Clean the deck: Use a deck brush or power washer plus a deck-cleaning solution/wood cleaner (ask us for recommendations) to remove mold, dirt, and mildew. If the finish is worn, let the wood dry for a few days, then re-stain.
Clear out the gutters: Clean leaves and debris from your gutters. The next time it rains, stand outside and look for breaks or leaks in your gutters and downspouts.
Inspect your exterior paint job and repair your siding, stucco, shingles: Find areas of post-winter rot or stucco cracks and repair the damaged areas. Pressure wash your home if dirt or mildew has accumulated. Reapply overly-faded stain. Check for peeling or chipping paint and repair these areas if minor enough; consider a full repaint if peeling and cracking is widespread.
Clean and recoat outdoor furniture: Clean off furniture that has been sitting in storage. Inspect metal parts for rust and treat with a rust preventative. If furniture is IPE, power wash and recoat with a clear sealer, and re-stain or repaint if coating is worn or chipped.
Reinforce fence posts: Replace warped or rotten pickets or posts, then give posts a good yank to make sure they’re sturdy in the ground.
Ernesto, the kids, and I spent the first week of the year in Sea Ranch, California, letting go of 2018 and committing to new and better selves in 2019.
Like any good captain and crew who look to the sea and stars before they set sail, in our family, and in our business, we take time in January to look ahead and catalogue the coming year’s trends and dominant energies. This helps us set our course for the new year.
Our mapping tools include: industry forecasts, current events, and academic sources. We also consult with a Feng Shui Master who puts together several charts based on Chinese Astrology, the first one being the Empowerment chart. This chart is a time map that describes the dominant animal and elemental characteristics of the year, and then breaks them down further by month, with a description of the corresponding energies of “Good,” “Cautious,” or “Inauspicious.” Advice is laid out for how to proceed in ways that will maximize benefit and minimize trouble.
So, what’s the scoop on 2019? A few general tips: February 4th kicks off the Lunar New Year in the Orient, and on this date, the planet enters the Year of the Golden Pig. Considered to be one of the luckiest signs in the Zodiac, the Pig represents the completion of a 12-year cycle and promises ease and peace in relationships. Conservation of resources is encouraged this year, as the beginning of a new cycle in 2020 will command much and will challenge any areas of depletion from 2019. Enjoy the ease that the Pig year brings but watch your health and budget closely!
Interestingly, this prediction that 2020 will be a year of change and challenge appears to be matching up with mainstream economic forecasts.
For anyone born in the Year of the Pig as I was, we are encouraged to broaden our horizons, deepen our wisdom, and give generously as doing all three will build up a healthy store of “Heaven Luck” which comes in handy when “Earth Luck” has been overdrawn.
In the Orient, luck is created through thought, word and deed, which can ultimately change one’s course of Fate to a course of Destiny. We are also encouraged in a Pig year to not be wasteful and to “keep up with life in a tidy way¹.”
Overall 2019 is predicted to be a good one for most and it “will be remembered fondly when it concludes on February 24, 2020¹.” From our Family to Yours, Happy 2019 and may you enjoy all of the promises of this Golden Pig year!
¹ Mandala Feng Shui, Michele Duffy, 2019 Empowerment Chart. Visit www.mandalafengshui.com for more information.
Home Mortgage Advice for 2019
By Dianne Crosby, VP of Mortgage Lending at Guaranteed Rate
Home is not just where the heart is. Residential real estate is considered an important source of wealth. Even through economic cycles, homes in California appreciate – literally “while we sleep.” If we maintain, update, and even upgrade our home, the value will accelerate. The Bay Area is a market with more buyers than sellers, and simple projects such as re-painting can raise value.
Right now, rates are lower than they were in early 2018. If you bought a home in the second quarter of 2018, you may be able to lower your interest rate, saving money each month and over the life of the loan. For those who have owned their home for a few years, the appreciation in value means it may be possible to use that equity for debt consolidation, college expenses, a home remodel, or an “Accessory Dwelling Unit” (or ADU) for extra space or rental income.
The first quarter of 2019 is a great time to review your mortgage to determine whether it is still meeting your needs. Call Dianne for more information!
Dianne Crosby Guaranteed Rate Berkeley, CA – 510-541-1662
Simple Squash Fajitas with Sweet Peppers
By Sun Basket, a San Francisco-based meal delivery company – www.sunbasket.com
Ingredients: 1 delicata squash 1 red onion 3 oz mini sweet peppers 6 oz cherry or grape tomatoes 1 lime 4 or 5 sprigs fresh cilantro 1 avocado 3 oz queso fresco 6 tortillas
Prep and Cook Vegetables: Trim the ends from the delicata squash. Cut the squash in half lengthwise and scoop out the seeds with a spoon, then cut each half crosswise into ¼-inch-thick half-moons. Peel the onion and cut in half lengthwise, then crosswise into ¼-inch-thick slices. Remove the stems and seeds from the mini sweet peppers; cut the peppers lengthwise into ¼-inch-wide strips.
In a large frying pan over medium-high heat, warm 1 to 2 tablespoons oil until hot but not smoking. Add the squash and cook, stirring occasionally, until starting to soften, 4 to 6 minutes. Add the onion, peppers, and ¼ cup water, season with salt and pepper, and cook, stirring occasionally, until the vegetables are just tender, 3 to 4 minutes. Transfer to a plate and season to taste with salt and pepper.
Wipe out the pan if using to heat the tortillas.
Prep Tomato Salsa, Garnishes: Cut the tomatoes in half. Juice half the lime; cut half into wedges for garnish. Coarsely chop the cilantro; set aside half for garnish. Cut the avocado in half lengthwise. Remove the pit, scoop out the flesh, and cut the flesh into ¼-inch-thick slices. Crumble the queso fresco.
In a medium bowl, stir together the tomatoes, lime juice, half the cilantro, and 1 to 2 teaspoons oil.
Season to taste with salt and pepper.
Warm the tortillas: On the stovetop directly over a flame, or in the same pan used for the vegetables over medium heat, warm the tortillas, turning once, until just pliable and warmed through, about 30 seconds per side. Transfer to a clean kitchen towel, cover, and keep warm.
Serve: Set out the tortillas, vegetables, tomato salsa, lime wedges, avocado, queso fresco, and remaining cilantro.
Kids Can Help:
Scoop out the squash seeds Juice the lime Scoop out the avocado Crumble the queso fresco Stir the tomato salsa
