Our guide to choosing paint colours for Amy Wright’s wallpapers, in collaboration with Mylands.
One of the questions we're asked most often is which paint colours work best with our wallpapers. It's also one of the hardest to answer. Colour is incredibly personal, and we know just how much time can go into finding the right combination, particularly when a wallpaper offers so many possibilities.
This is especially true of our collection with Australian artist Amy Wright. Originally created as paintings, her designs are full of layered colour. The murals in particular reveal an extraordinary range of tones, from soft greens and faded terracottas to subtle blues, pinks and unexpected contrasts. Look a little closer and there's always another colour to discover.
With so many possibilities, we wanted to put together a practical guide to help make those decisions a little easier. We approached Amy's wallpapers as we would a piece of art, considering how the surrounding paint colours could complement the work, bring out particular details or create contrast.
To explore this further, we visited Mylands at its Lambeth factory, where we selected 20 paint colours across the five designs, considering everything from adjoining walls and ceilings to woodwork and accent colours.
Here, we're sharing the thinking behind our selections, alongside some tried-and-tested principles for pairing paint with artwork. Rather than prescribing a single combination, we hope to show how different colour choices can bring an entirely different character to the same design.
Three ways to build a palette
Start with the background. Before reaching for white, look at the lightest areas of the artwork. They may contain stone, pink or grey undertones. A paint with similar warmth can create a more natural transition to adjoining walls and ceilings.
Look beyond the dominant colours. A small passage of blue, coral or green can be a more interesting starting point than the colour you notice first. Repeating it on a door, piece of joinery or nearby wall brings that detail into focus.
Use contrast deliberately. A deeper shade can give definition to a pale painting or mural. It often works best in a considered area, such as cabinetry, panelling or a door, rather than across every surface.
The point is not to match every colour. It is to decide which part of the artwork you want the room to emphasise.
Why Mylands
Mylands has made paint in London since 1884 and has a longstanding relationship with the arts, including its work with Dulwich Picture Gallery. That connection made it a natural partner for a collection rooted in painting. During our visit to the factory, we compared colours directly with Amy’s designs and considered how they could work on the surfaces around them.
Our palettes for the collection
These are options to choose between, not a scheme to follow in full. One colour for the adjoining walls and another for the woodwork may be all a room needs.
The Painted Garden No.1 Mural
Layered foliage, faded terracotta and cooler blue marks give this mural several possibilities. Chalk Farm No.53 is a warm, pale choice for adjoining walls; Greenstone No.190 follows the leaves. Mews Blue No.98 brings out the cooler passages, while Pediment No.73 picks up the muted pinks.
For more definition, try Maritime No.236 on a door or cabinetry. The deep blue creates contrast without taking over the room.
Order a sample of The Painted Garden No.1 Mural
The Painted Garden No.2 Mural
The pale ground works with both neutrals and colour. St Martins No.37 and Paving Stone No.61 keep adjoining walls light; Greenstone No.190 picks up the leaves, and Islington No.23 brings out the blue-grey. For more depth on panelling or cabinetry, try the smokier Museum No.151.
Order a sample of The Painted Garden No.2 Mural
Garden No.1
The warm pink ground gives Garden No.1 a plaster-like quality. Clerkenwell No.21 keeps the surrounding room light, while Pediment No.73 follows the softer pinks. Soho Pink No.266 brings more depth and would work well on painted joinery.
Temple Bar No.70 is the stonier alternative. It keeps the palette grounded while allowing the wallpaper’s pink tones to stand out.
Garden No.2
Garden No.2 balances a warm ground with faded green and small touches of blue-grey. Honest John No.58 is a stone-white companion; Mint Street No.95 draws out the leaves, and Threadneedle No.262 follows the warmer undertones.
For a cooler direction, Mid Wedgwood No.113 picks up the blue-grey details. On a door or adjoining wall, it shifts the emphasis of the whole pattern.
Garden No.3
From a distance, Garden No.3 reads as layered greys. Up close, fine coral marks add warmth. Cotton Street No.3 keeps surrounding walls pale. Islington No.23 and the deeper Stirrup No.114 follow the cooler colours, while Chambers Gate No.85 offers a warmer, stony grey.
Threadneedle No.262 is the less obvious pairing. Used on joinery or a smaller feature, this dusty pink brings the coral details into focus.
A few things to keep in mind before committing to a colour
Test generous paint samples directly beside the wallpaper, taking the flooring, curtains and furniture into account. Look at them in daylight and after dark. Undertones that are barely noticeable on a colour card can become much clearer next to the artwork.
Use these palettes as a starting point. Decide whether you want the paint to sit quietly alongside the artwork, pick out a smaller detail or add contrast.
Explore The Painted Garden collection here
In collaboration with Mylands. This article contains affiliate links. If you purchase through one of these links, we receive a commission at no additional cost to you. The palette selections and editorial are our own.