Colour guide
Most colour disputes on a stone project are not about the wrong slab. They are about a decision made from a photograph, or a second order that came from a different batch. Both are avoidable.
A polished quartz surface reflects its surroundings. The same slab photographed under studio flash, under a warehouse light and beside a warm kitchen lamp will produce three different whites, and a monitor adds its own white point on top. Low-contrast veining is the worst case: the detail that sells the colour is often the first thing a compressed image loses.
That is why every colour page on this site shows an unretouched factory slab photograph as the last frame, and why the two room scenes are clearly marked as visualisations. They are there to show scale and how the surface reads in a room, not to define the shade. The slab photograph is the pattern reference; a physical sample is the shade reference.
Engineered quartz is pressed from a mineral mix. Minor shifts in the raw material, the press run and the polishing line all move the tone slightly between batches. On a single worktop nobody notices. Across a hotel floor or a long wall run made from two orders placed months apart, the same nominal colour can show a visible line.
The paler and plainer the colour, the more obvious it is. A near-white solid such as Solid Bianco or Solid Neve has nothing for the eye to latch onto except the tone itself, whereas a busy terrazzo hides a small shift in its chips. If the project is large, order enough of one colour to finish it in a single run and keep a few spare slabs for later repairs.
Ask for sample pieces of the colours you are considering and put them next to the actual joinery, under the actual lighting. We can send samples; ask and we will confirm the sizes available and the courier cost to your address. For a client sign-off, a larger sample board is worth the extra — a 50 mm chip does not show how a wide vein behaves across an island.
Then fix the reference in writing: the colour code, the batch or approval date, and the sample the client signed. Quote the code rather than a family name. 'Calacatta' means different things at different factories, while a code such as CN7011 identifies one exact figure in our range.
The listed range is the starting point, not the limit. We colour-match to a sample, so if a project is built around a stone, a laminate or a tile that is not in our catalogue, send us the physical reference and tell us the quantity and thickness. We will confirm whether a match is practical, what the minimum order would be, and what it would cost before anything is produced.
Be realistic about what a match means. A pressed quartz surface will not reproduce the translucency of an onyx or the random variation of a natural marble. What it can do is hold a tone and a figure consistently across every slab in the order — which is usually the property a project actually needs.
Keep the approved sample, the colour code and the order reference together. When a second order is placed, quote the original approval so the new batch can be checked against it rather than against a fresh photograph. If the project has a specifier, send them the batch report that travels with the quotation rather than a screenshot from the website.
Our specifications page publishes type-test values for the product family from an accredited laboratory, together with the report reference. Those are measured properties, not shade approvals; the two documents do different jobs and a specifier usually wants both.
The colours page shows the full listed range with a slab photograph for each colour, and the FAQ answers the practical questions about samples and minimum order. If you need a sample or want to discuss a colour match, send the colour codes — or the reference you want matched — and we will confirm what is available.
Enquiry
Send the colour codes, the square metres, the thickness and the destination port. We reply with a price, a packing plan and a lead time.
