9 Design Pros Share Their Favorite Shade of White Paint – Bob Vila

White paint has a reputation problem. People treat it like “vanilla”safe, plain, and impossible to mess up. Meanwhile, every designer on earth has a
story about the “simple white” that turned minty, dingy, icy, or mysteriously banana-ish the second it hit the wall. The truth is: white is a
shape-shifter. It borrows color from your floors, your countertops, your bulbs, your window direction, and even that one giant navy sofa you swear you
only bought because it was on sale.

Bob Vila’s roundup of nine design pros (and their go-to whites) is a perfect reminder that the “best white paint color” isn’t one magic shadeit’s a
match between a specific white and a specific room. Below, we’ll unpack the designers’ favorites, explain why each one works, and give you a practical,
no-drama way to pick your own. (Spoiler: your best white is the one that behaves nicely in your lighting. Not the one that looked angelic on your phone.)

Why “white paint” is never just white

Undertones are the secret personality of white

Most whites contain subtle undertonestiny whispers of gray, beige, yellow, green, pink, or violet. Those undertones might look invisible on a paint
chip, then shout their opinions once you paint a big surface. That’s why “bright white” can read blue in one room and creamy in another: the room is
basically the paint’s influencer, telling it what aesthetic to serve.

Light Reflectance Value (LRV) changes how “bright” white feels

LRV is a number (0–100) that describes how much light a color reflects. Higher LRV whites bounce more light and can feel crisp and energizing; lower
LRV whites can feel softer and a touch quieter. Designers use LRV as one cluenot the whole storybecause undertones and lighting still run the show.

Your window direction is a plot twist

North-facing rooms often get cooler, grayer light; south-facing rooms get warmer, brighter light; east gives you cooler morning light; west brings warm
afternoon glow. The same white can look fresh and airy at noon, then moody and slightly gray at dusk. Translation: you’re not indecisiveyour room is
just changing outfits.

The 9 designer favorites (and exactly where they shine)

1) Nikki Levy: Sherwin-Williams Extra White (SW 7006)

Nikki Levy loves Sherwin-Williams Extra White for its clean, straightforward lookespecially when you want crisp architecture and modern contrast. In
Bob Vila’s feature, she notes it’s a great choice when the goal is fresh and “no-nonsense,” even in rooms filled with warm-toned furnishings. This is
the kind of white that behaves like a sharp white button-down: simple, polished, and weirdly powerful.

Best uses: trim, ceilings, doors, and spaces where you want a bright, clean perimeter without a lot of creaminess.
Sherwin-Williams also highlights its high light reflectivityone reason it’s popular for trim and ceilings.

Watch out for: super cool lighting (think very “blue” LEDs) can make Extra White feel a bit stark. If your room already runs cool,
consider a softer off-white for walls and save Extra White for trim.

2) Larina Kase: “The Best of Benjamin Moore” (a practical white wardrobe)

Designer Larina Kase picks whites based on client style and the realities of the roomespecially light levels and floor color. She points out that warm,
honey-toned floors can reflect onto walls and make a white read more yellow than you intended. Her favorites include a Benjamin Moore greatest-hits list:
Super White, Chantilly Lace, White Dove, Decorator’s White, Vanilla Milkshake, and Steam.

Instead of treating this as “pick one,” steal her mindset: build a shortlist and choose the one that plays nicest with your fixed finishes (floors,
cabinets, counters). If your floors are warm, you may need a white that’s balanced or slightly cooler to avoid the whole room turning into toasted
brioche.

3) Roy Kim: Greige whites (the calm, grown-up compromise)

Roy Kim’s favorite “white” category is what he calls greige: whites with a subtle warm-gray essence. This is the move when you want a soft,
modern neutralityless sterile than a bright white, but not obviously beige. He also warns that in rooms with rich red woods (mahogany, cherry), whites
with green undertones can make the red tones feel even louder. In those cases, he suggests going greige.

Best uses: open-plan living areas, rooms with lots of wood, and spaces where you want “white walls” that don’t feel like a clinical
waiting room. Greige-leaning whites can also help when your home has multiple warm and cool elements competing for attention.

4) Jennifer J. Morris: Benjamin Moore Super White (OC-152)

Jennifer J. Morris loves the clean simplicity of Benjamin Moore Super White and says it plays well with both cool and warm tonesmaking it a flexible
backdrop for everything from kids’ rooms to hallways. Benjamin Moore describes Super White as a radiant, slightly cool white, and lists its LRV as 87.36,
meaning it reflects a lot of light.

Best uses: hallways, transitional spaces, and any room where you want the walls to cooperate with neighboring colors. It’s also a solid
pick if you like a “gallery” feel but still want a touch of softness compared with the brightest, most blinding whites.

5) Carla Aston: Sherwin-Williams Aesthetic White (SW 7035) + Alabaster (SW 7008)

Carla Aston is a two-white household (honestly, relatable). She loves Sherwin-Williams Aesthetic White so much she used it in her own home, noting its
taupe tone pairs well with travertine floors. Sherwin-Williams describes Aesthetic White as having a subtle violet undertone that gives it a calm,
dove-like vibegreat for minimalist spaces that still want warmth and depth.

For situations that call for a light warm white, she often reaches for Sherwin-Williams Alabaster, which she praises for having enough warmth not to
look harsh. Sherwin-Williams’ own guidance frames Alabaster as a white with subtle beige undertones that lands in a balanced warm zonesoft, welcoming,
and not aggressively creamy.

Best uses: Aesthetic White in rooms with warm stone or tile; Alabaster for cozy living areas, bedrooms, and anywhere you want warmth
without going full “whipped frosting.” Use a crisper white (like Extra White) for trim if your wall color leans cool gray.

6) Kate Reggev: Benjamin Moore Decorator’s White (OC-149)

Architect Kate Reggev calls Benjamin Moore Decorator’s White her go-to because it stays fresh and clean without feeling cold or harsh. Benjamin Moore
describes it as a white with a touch of cool graysleek and versatilewith an LRV of 82.68. It’s a smart choice when you want crispness, but not a
blinding “new printer paper” vibe.

Best uses: rooms with gray or blue palettes, modern spaces, and trim/walls when you want a coordinated, cooler-leaning white that still
feels friendly.

7) Stefani Stein: White Cliffs by Portola Paints & Glazes

L.A. designer Stefani Stein favors White Cliffs for a relaxed, refined lookdescribing it as bright and crisp with just a touch of warmth. Portola calls
White Cliffs their “cleanest, gallery white,” noting it’s a go-to for ceilings, trim, and classic walls, and adds that it leans cooler in tone. That
combo (crisp + “maybe warm, maybe cool”) is exactly why sampling matters: this kind of white changes its mood depending on your light and surrounding
finishes.

Best uses: minimal, art-forward spaces; rooms where you want a bright white that feels intentional (not default).
Pro tip: try it next to both warm and cool fabricswhite paint gets honest when it has competition.

8) Lauren Nelson Design: Benjamin Moore Simply White (OC-117)

Lauren Nelson’s team loves Benjamin Moore Simply White because it’s clean and bright without being too harshand they call it especially helpful in dark
rooms that don’t get much natural light. Benjamin Moore describes Simply White as a clean and versatile white and lists its LRV as 89.52, which explains
why it can make dim spaces feel more open.

Best uses: darker rooms, smaller spaces, and homes where you want a bright look without the icy edge some cooler whites can bring.
It’s also a popular choice for walls when you’re aiming for “bright but still livable.”

9) Cortney Bishop: Farrow & Ball School House White (No. 291)

Charleston designer Cortney Bishop’s recent go-to is Farrow & Ball School House White, which she describes as familiar and cozy while still bright
enough to make an impact. Farrow & Ball characterizes it as a soft off-whitetimeless and reminiscent of old school houseswithout the cool
undertones found in more contemporary neutrals.

Bishop also names Benjamin Moore White Dove as another top pick, calling it a great option for painting most of your home white. Benjamin Moore lists
White Dove’s LRV at 83.16, and the brand positions it as an off-white that reads soft and versatile rather than stark.

A quick (actually useful) framework for choosing your best white paint

Step 1: Start with the stuff you can’t change

Floors, countertops, tile, and big furniture pieces are the boss of your undertones. If your floors are warm, your “neutral” white can suddenly look
creamy. If your countertop runs cool, a warm white can look vaguely…custard-adjacent. Designers repeatedly emphasize factoring in light and existing
materials before declaring a winner.

Step 2: Decide if you want warm, cool, or “greige neutral”

If you’re decorating with warm woods, creams, and earthy colors, warm whites often feel more natural. If your palette is full of blues, grays, and
crisp modern finishes, cooler whites can look sharper. When your room has both warm and cool elements (hello, modern farmhouse), greige whites can keep
the peace.

Step 3: Sample like a designer, not like a hopeful romantic

Don’t judge white paint from a tiny chip. Test large samples (or painted boards) and move them around the room. Look at them morning, afternoon, and
night. Compare two whites side by sidebecause you can’t see undertones clearly until you give them a frenemy.

Step 4: Pick the right sheen so your “perfect white” stays practical

Finish matters. Flat or matte hides wall imperfections but can scuff; eggshell is a popular wall compromise; satin and semi-gloss are common for trim and
doors because they’re durable and easier to clean. If you’ve ever wondered why your trim looks like it’s wearing lip gloss, it’s because semi-gloss is
shiny by design.

Common white-paint mistakes (and how to avoid them without crying in the paint aisle)

• Choosing “bright white” for a north-facing room: cooler daylight can make it feel icy or gray. Consider a balanced white or a warm
  white with gentle undertones.
• Ignoring the bulb situation: warm bulbs can make whites look creamier; cool bulbs can make them look bluer. Swap bulbs before you
  blame the paint.
• Assuming one white works everywhere: whole-home whites exist (White Dove is famous for this), but you still need to test it in your
  toughest room.
• Skipping samples because “it’s just white”: designers literally beg you not to do this. (They’ve seen things.)

Room-by-room cheat sheet: matching the right designer white to the right job

Trim + ceilings

If you want crisp edges and clean contrast, lean toward bright, high-reflectivity whites like Sherwin-Williams Extra White or Portola White Cliffs.
If you want a softer, more traditional look, try a cozy off-white like School House White (especially in deeper shade).

Walls in darker rooms

Simply White is a popular choice when natural light is limited because it stays bright without feeling brutally stark. If your dark room also leans cool,
test Super White and a balanced off-white so you don’t end up with “white walls” that read as pale gray.

Walls with gray/blue palettes

Decorator’s White can be a strong partner for grays and blues because it has a touch of cool gray built in. Extra White also plays well with cool walls
when you want crisp trim that makes the grays look sharp.

Warm floors (travertine, honey oak, warm tile)

Aesthetic White (taupe-leaning) can bridge warm stone floors without looking yellow, and Alabaster is a classic “warm but not harsh” option. For
whole-home warmth, White Dove is often recommended as a balanced, softly warm white that doesn’t scream “cream.”

Real-World White Paint Experiences: what actually happens after the sample dries (about )

Here’s the part nobody puts on the paint chip: choosing a favorite shade of white paint is less like picking a color and more like adopting a pet. It’s
going to have moods. It will look different in the morning than it does at night. And it will absolutely react to your environmentsometimes in ways
that feel personal.

One of the most common real-life scenarios goes like this: a homeowner falls in love with a crisp “gallery white” online, paints a north-facing living
room, and suddenly the walls look faintly gray-blue. The paint didn’t “turn”the light did. North light can be cool and indirect, and it tends to pull
cooler notes forward. In that situation, a warmer off-white (or a white that’s balanced with subtle beige undertones) often reads more like “white” in
the room. The goal isn’t warmth for warmth’s sake; it’s choosing a white that looks neutral under your specific light.

Another classic: the “why do my walls look yellow?” spiral. This one shows up in homes with honey oak, golden maple, or warm stone floors. Light hits the
floor, bounces upward, and the walls start reflecting that warmth. Even whites that looked neutral in the store can pick up a buttery cast. Designers
regularly solve this by testing several whites that span the spectrumone warmer, one cooler, one greigethen checking which one stays steady next to the
floor at different times of day. It’s less about finding a paint with “no undertone” and more about finding an undertone that doesn’t fight your fixed
finishes.

Then there’s the trim dilemma: you choose a wall white you love, and suddenly your trim looks dirty…or fluorescent. That’s because whites are
comparativeyour wall color can make your trim look cooler, warmer, brighter, or duller. Many pros intentionally use two whites: a softer one on walls,
and a crisper one on trim for definition. Think of it like eyeliner for your baseboards (but less dramatic, unless you pick semi-gloss in direct sunin
that case, yes, it’s dramatic).

Finally, there’s the “everything is white but it still feels flat” issue. This is where designers lean on finish and texture. A matte wall white paired
with slightly sheeny trim, warm wood, woven textiles, or stone adds dimension so the room feels layered, not blank. White paint is the background, not
the entire personality. The winning projects treat white as a canvas: strong silhouettes, mixed materials, and a few darker accents do the heavy lifting
while the white keeps everything airy and cohesive.

If you take only one real-world lesson: test your finalists on big samples, live with them for a couple of days, and judge them next to the
non-negotiables (floors, counters, tile). White paint is “simple” only after you’ve done the not-simple part: making sure it behaves in your home.

Conclusion

The reason designers keep favorite whites on speed dial is simple: they’ve watched how different whites react to real rooms. From crisp, clean options
like Sherwin-Williams Extra White and Portola White Cliffs, to balanced, livable classics like Benjamin Moore White Dove and Simply White, the “best”
white paint color is the one that matches your light, your finishes, and your vibe. Sample boldly, compare side by side, and remember: if your white
looks different at 8 a.m. than it does at 8 p.m., it’s not brokenit’s doing its job.