To help develop a collection of 100 Original Pigments paints, St. Leo invited Copenhagen based practice All The Way To Paris to contribute their strong sense for colour. From their hand-made swatches, the St. Leo team transformed each colour into a richly pigmented interior paint, matched across six different finishes. In the following conversation and visit to All The Way To Paris’s studio, Tanja Vibe and Petra Olsson Gendt explain how they approached the collaboration:

ST. LEO: What does colour mean to you as a creative medium?
ALL THE WAY TO PARIS: Colours are very present in our practice. For us colour can be straight communication but also poetic—representing something more ephemeral. The beauty of colour is that it can communicate strongly as a visual but also touch you on a more subconscious level.

SL: Could you explain the concept of the City Collections?
ATWTP: The City Collection essentially uses colour to explore seven different cities around the world and to amass a collection of 100 interior paints. The idea of experiencing cities through colour was interesting to us. It posed a challenging and inspiring question of how to create a colour scale that captures the colourful characteristics—both the common ones and the less expected—of each place. We like this thought from a conversation between Marco Polo and Kublai Khan in Invisible Cities by Italo Calvino: “Arriving at each new city, the traveler finds again a past of his that he did not know he had: the foreignness of what you no longer are or no longer possess lies in wait for you in foreign, unpossessed places.”

SL: What drew you to Antwerp, Athens, Copenhagen, Kyoto, Mexico City, Milan and Paris as sources of inspiration?
ATWTP: We have always been intrigued by life in different places. Through the City Collections we are visiting and revisiting cities that are capitals in their country, but also some that are regarded as the ‘other city’.

SL: Could you please describe the overall colour identity of each City Collection?
ATWPT: Antwerp: With European classicism and a contemporary vibe, this city leaves a sense of cool and strength. Elegant tones of plum and blue are balanced with tactile natural materials.

Athens: This boldly spirited city of sandstone is lit up by the Mediterranean light, earthy warm reds and azure seas. The colours also hint at the once vividly painted ancient statues—long worn away.

Copenhagen: The architecture of our home city is represented in the ochre, the reds and the black-green tones which are balanced with the light grey Scandinavian sky, sandy stone sculptures and streetscapes.

Kyoto: This amazing historical city has a natural vibrance. The river running through gives green to the land. In spring the Sakura cherry blossom brings delicate beauty to the scale. Multi-layered lacquered goods gleam in deep dark reds.

Mexico City: The vibrancy of this immense city is represented by some of the brightest colours in the collection. Many are inspired by Mexican murals, the works of Lina Bo Bardi and the ever-intriguing Frida Kahlo.

Milan: At first glance Milan seems industrially strict, but once you come inside through opulent entryways, you see verdant courtyards, painted tiles and stone; you’re served food and wine with joy and elegance. It’s serious and light at the same time.

Paris: A city that’s always been in our hearts with its lights and l’heure bleu. The limestone architecture imparts soft eggshell hues; Corbusier leaves traces and the Jardin de Luxembourg brings green. It is always elegant and chic.

SL: How did you begin your investigation of colour for St. Leo’s Original Pigments collection? What was your method, and what did you discover as you worked?
ATWTP: The process started out very analogue. First, we developed each hue using water colour and gouaches, painting small swatches by hand. In that sense the development was very intuitive and organic. Unexpected things also happened when the test colours dried up. We embraced the fact that part of this process was out of our control. After this very open and free process, the more intellectual phase—the selection—began. In this case it was all about creating beautiful colour groupings; sub-collections of colours that enhanced and balanced each other and that had a sense of intrigue. We were mindful that the spectrum needed tension as well as harmony. After making initial groupings using the small swatches, we mixed and painted large colour boards to see how the colours worked together on a larger scale.

SL: How did you work with the St. Leo team to perfect each hue?
ATWTP: We had developed a massive amount of colours that we showed to St. Leo’s team. We lay all the swatches on the floor and through intense dialogue with St. Leo, through systemising and editing the colours, we arrived at the final decision. This phase of the process led to the further refinement of the selected swatches to reach a well-balanced collection of 100.

About All The Way To Paris:

All The Way To Paris started as a graphic design duo in 2004 and has since evolved into an award-winning group of global talents with a passion for pushing the creative envelope and going beyond the boundaries of the expected to explore a broad spectrum of projects within visual communications. From graphic identities, digital designs, illustrations, art and museum catalogues, exhibition graphics and books to rugs, fabrics, intriguing design objects and interiors. For founding partners Tanja Vibe and Petra Olsson Gendt, their raison d’être stems from a Scandinavian no-nonsense approach to design, where they continuously seek to eliminate the unnecessary.

allthewaytoparis.com

Colour—with all its emotive, psychological, cultural and aesthetic power—is the core tenet of Original Pigments. To expand our spectral horizons, we joined forces with All The Way To Paris, to search the globe for beautiful hues that possess a unique and transportive quality. Seven cities became the main source of inspiration: Antwerp, Athens, Copenhagen, Kyoto, Mexico City, Milan and Paris.

Together with All The Way To Paris, we investigated the colourful identities of these locales—from building facades and streetscapes, to architectural details, interiors and natural landscapes—with a goal to create paints evocative of their diverse origins.

Each colour carries the name of the place it was inspired by, along with the rich stories found there: Colours such as rich gold Kinkakuji channel a historic Kyoto temple that glows under the sun, while light grey Herluf Trolles Gade recalls the Baroque architecture of Copenhagen’s old city streets. In all, 100 Original Pigments colours promise an aesthetically and culturally inspiring journey.

Original Pigments paints are made in Scandinavia from premium, sustainable ingredients. Exceptional colour accuracy and depth are achieved through high quality, organically derived liquid pigments and a rich proportion of clay and titanium dioxide. St. Leo’s colours express themselves vividly and provide excellent coverage in one to two coats—promising lasting atmosphere. The paints are characterized by a thick and creamy consistency ensuring easy application and fast drying times.

The collection features six finishes designed for use in domestic living spaces through to commercial spaces. Three interior wall and ceiling paints span intense matte, matte and semi-matte finishes, and a series of three wood and metal paints provide elegant solutions for the enhancement of rough surfaces with silk matte, semi gloss and high gloss finishes. The offering includes water-repellent paints designed for use in kitchens and bathrooms.
Original Pigments are available now. Contact us to enquire.

An art collaboration curated by Atelier Senseware in their Tainan studio. Atelier Senseware invited the ceramicist and tattoo artist Tsai-Han Kuo to explore the understated tactility of Marble Paint.

Tsai-Han Kuo’s artistic practice emerges from her background in ceramics and tattooing. Displayed through a balanced consideration of lines and textures, Kuo works with undefined forms and play of light, and accentuates them with the subtly textured profile of Marble Paint.

The different shapes are cut out from a cardboard base and stacked on top of each other in various heights, creating undulating edges in the passing sunlight. The selected Bredgade colour shifts between a soft warm beige to a radiant yellow tone and carries its intriguing character onto the work.

Artwork by Tsai-Han Kuo.

Photography by Atelier Senseware.

A selection of inspiration behind the blue tones from our soon-to-launch expanded collection of Original Pigments colours.

Colour Study #26 captures the spirit of colour blue through imagery of classic interiors, façades and art. Spanning the powerful tones of azure and deep navy to stony grey, this collection mirrors the variety of hues soon to be found in the St. Leo palette. Follow us on Instagram to discover more visual studies.

Images Credits:
@a_gaut
@victorstonem
@carla_cascales_alimbau
@aurestudio
@kinfolk
@katiegwhipple

A selection of inspiration behind Rue Loubet, Gammel Strand and Via Aurelia–our core collection’s gentle tones characterised by a subtle warm glow.

The curation behind Colour Study #25 pivots on blush-tinted interior spaces and soft arches. Touching upon the photograph of a rose, Colour Study #25 takes a stance on how fundamentally mellow hues, such as Rue Loubet or Gammel Strand, can powerfully shift any interior environment. Follow us on Instagram to discover more visual studies.

Images Credits:
@beau_traps
@paolo_abate
@iamnotana
@pierre.yovanovitch
@carolinebahrenscheer
@paolo_abate

A selection of inspiration behind the bold and energising Århusgade and bespoke NCS colour mixes available in all three finishes–Dolomite Plaster, Original Pigments and Marble Paint.

The strong red and orange theme of this Colour Study is informed by art, nature, interiors and architecture–the four pillars of inspiration in the St. Leo universe. From textured abstraction and figurative Roman wall paintings to still life and natural landscapes to tonal interiors characterised by a subtle glow, the visuals behind Colour Study #24 provide inspiration for the current–and ever expanding–St. Leo palette. Follow us on Instagram to discover more visual studies.

Images Credits:
@ronanbouroullec
@marco_mansi_
@chogiseok
@a_gaut
@axelvervoordt_co
@emmabernhoff

A look behind-the-scenes at Atelier Plateau’s studio, ahead of the exhibition opening at The Audo during Copenhagen’s 3daysofdesign from September 16-18. Atelier Plateau’s three interchangeable wall reliefs are hand painted using St. Leo’s new Marble Paint, to present a contemporary take on an ancient form of visual storytelling.

In ‘Fragments of Figures’, the human form is explored through tactile 3-dimensional, abstracted shapes and the viewer is invited to watch lines shift and volumes of shadows grow as light moves across the undulating surfaces. In this way, Atelier Plateau highlights the connection between the works and their spatial context at The Audo, encouraging the observation of subtle environmental evolutions and of time passing. With backgrounds in architecture and spatial design, Atelier Plateau’s handmade wall reliefs are a natural continuation of their professional work. Anne from Atelier Plateau explains, “we explore and challenge the experience and perception of our surroundings through our wall reliefs—as it is equally about the space as it is about form.”

Each of the three unique pieces in ‘Fragments of Figures’ are in themselves fragments of a triptych; they can be displayed on the wall in different positions to create a variety of motifs interconnected through each piece’s intricate linework and curvilinear compositions. This feature offers flexibility, allowing the works to adapt to varying interior environments or to be rearranged into different narratives and introduce new visual interest. Mikkel elaborates: “each of our reliefs bears a unique composition, depth, dimension and textural expression. We celebrate the imperfect and the natural and we aim to retain this authenticity in each piece.”

The tactile qualities of ‘Fragments of Figures’ is also an integral component of Atelier Plateau’s practice and has informed the use of St. Leo’s Marble Paint to finish the reliefs. Made from finely crushed stone and liquid colour pigments, the paint imparts a subtle texture that is perfectly imperfect. St. Leo colours Herluf Trolles Gade, Via Aurelia plus a custom shade were chosen for their natural profiles and to harmonize with The Audo’s interior design, to complement rather than overshadow the space. The impact is highly sensory and empathetic towards the viewer, as Mikkel explains: “we have both worked as architects within healthcare for many years and know how important the environment is to our well-being. We experience our surroundings through impressions from our senses and movements, and it is through these that we relate to the world.”

‘Fragments of Figures’ is on display at The Audo—Århusgade 130, Nordhvan—during Copenhagen’s 3daysofdesign and the pieces are available for purchase from The Audo’s Concept Store or webshop. Each of the three reliefs is made in a limited edition of three.

To see the ‘Fragments of Figures’ collection, please visit stleointeriors.com/projects.

About Atelier Plateau:

Fascinated by the interplay between light and shadow, Atelier Plateau offers a unique collection of handmade minimalistic reliefs. In a time when reality has become more digital than ever before, Atelier Plateau returns to the past to reinterpret a long tradition. Reliefs with motifs, patterns and tales, made of wood, are a well-known and thousand-year-old technique. The reliefs change expressions during the day, depending on how the light hits the different plateaus. They are in dialogue with their surroundings and encourage the viewer to be present in this moment.

atelierplateau.com

Photography by Atelier Plateau.

During this years’ 3daysofdesign, St. Leo presents three distinct wall textures through a fine art collaboration with NYC-based painter Rachel Mishael, debuting at The Audo. In this exclusive art commission a series of three, handmade and original ‘Texture Studies’ paintings celebrates the tactility and sustainability of St. Leo’s Dolomite Plaster, Marble Paint and Original Pigments products in a tonal colour spectrum.

In advance of the exhibition opening, we took a look behind the scenes as Mishael explored the three St. Leo textures at her Danish summerhouse, and hear the artist explain her process.

ST. LEO: What is your background and how have you come to be a painter? 
RACHEL MISHAEL: I was born and raised in NYC. I explored many forms of creativity growing up, but it wasn’t until my university days that I discovered a passion for painting, in a very unconventional way. You see, I have lived most of my life with mental health issues, especially OCD and anxiety. I discovered painting at a time when I was particularly unwell and it was like my medicine. I was captured by the stream of focus, spontaneity, excitement, pride, and satisfaction that comes with my process. For me it is meditative, it is my way of finding peace and calm in my over-active mind. I fully committed to my art practice when I realized it is what I need to be happy. Before this professional shift, I spent my early career as a journalist painting only in my free time. My background in journalism has greatly informed my practice in a conceptual way. Much of my work speaks to major issues of our time. Right now my focus is on climate related issues and I hope my work inspires an appreciation of our natural environment.

SL: Please tell us about your practice.
RM: I am a contemporary abstract eco-artist based in New York City and Copenhagen. My conceptual and emotion-driven work explores themes of nature, health, social equity, and capitalism. My style reflects the blending of nature with minimalist design.

SL: What are the main elements of your work?
RM: My work is focused on finding unique connections between raw textures, earth pigments and natural materials.

SL: What is your process from concept to realisation?
RM: My emotion-driven process is very free and spontaneous. Sometimes I intend to carry out a vision or idea that has struck me, other times I just put paint to surface and follow what feels good. I let the materials guide me to find the textures and marks that most excite me. I also like to set the mood in my studio with lighting, music, aromas and an open heart.

SL: Where do you draw inspiration?
RM: I am inspired by the raw, natural materials I work with, borrowed from earth in a harmonious way. I am inspired by light, shadow and texture. I am inspired by the interaction of nature and minimalist design.

SL: What is the concept behind this collaboration?
RM: As many of us are spending more time inside, it is important that we seek connection with the natural world. This collaboration comes from a mutual desire to highlight the breathtaking beauty of raw materials and exhibit how their thoughtful presence in our spaces evokes a sense of tranquility among the observer. These works aim to bring a sense of nature indoors.

SL: What interests you about texture?
RM: From ridges on a sandy beach to the weathered down stone of an old building, I’m fascinated by the unpredictability of natural textures, their imperfect patterns and unique formations. I’m captivated by the way light and shadow dance across the peaks and slopes of raised texture.

SL: Describe the process of creating the ‘Texture Studies’ Paintings.
RM: I began my process with a visit to The Audo to study the spatial layout, lighting, materials and mood. Then I returned to Gilleleje and Hornbæk for sunny seaside strolls, where I studied natural textures in the sand, waves and stones. I considered how I would blend and emphasize the materials so they would carry a sense of these environments. ‘Texture Studies’ was created in harmony with my surroundings, under the warm sunlight, between the sea and forest. I set a loose intention for my practice and then I danced around with my tools, following my intuition with each choice I made. This work was developed over the course of several sunny weeks, with countless layers across different sections to create history and depth. The textures are informed by those around me, inviting light and shadow to make their own interpretations. The results appear as a relaxed wearing of time.

SL: How have you worked with the materials and colours in the collection?
RM: Each of the St. Leo plaster or paint materials used in this collection have a direct connection with nature. The works begin with a base of sustainable wooden boards and build up many layers of St. Leo products, which are comprised of such elements as marble, ash and pigment. I was so pleased with how effortlessly St. Leo’s plaster and paints followed whatever form I pursued, from soft, sweeping strokes to rigid, sharp textures and everything in between. I layered gradually from dark to light, beginning with a base of Århusgade, followed by Rue Loubet and topped with Herluf Trolles Gade and Via Aurelia at the surface. This approach was inspired by the natural earth textures around me, which are darker below a sun-kissed surface.

To see the ‘Texture Studies’ collection, please visit stleointeriors.com/projects.

About Rachel Mishael:

Rachel Mishael is an abstract eco-artist based in New York City and Copenhagen. Rachel’s conceptual and emotion-driven work explores themes of nature, health, social equity and capitalism. Her style reflects the blending of nature with minimalist design. After several years of working with acrylic, cement, spray and other toxic art materials, Rachel learned about the harmful impact these conventional materials had on her health and the environment. When she began a search for alternative options in 2020, she was introduced to the small but growing eco-art community and has since dedicated the future of her practice to earth-friendly materials.

rachelmishaelstudio.com

The St. Leo team welcomes guests to discover the ‘Texture Studies’ artworks alongside our full collection, on display at Room 2 of The Audo from September 16-18.

Photography by Værnis Studio.

A selection of inspiration behind Herluf Trolles Gade, Via Cenami and Admiralgade–the neutral-to-grey shades in our core colour collection.

Colour Study #25 emphasises the stony profiles of Admiralgade and Via Cenami through images of raw architectural materials and forms. The grey concrete and natural clay tones interplay with layered paint to conclude with a dynamic depiction of a wave–referencing the sustainability focus in St. Leo’s philosophy. Follow us on Instagram to discover more visual studies.

Images Credits:
@nicolasschuybroek
@irenedkw
@francisgallery
@benoit_viaene
@jenniferhagler
@aybukedogmaz

A selection of textural inspiration behind St. Leo Dolomite Plaster, which is formulated with finely crushed Dolomite stone and carefully blended colour pigments.

The visuals of Texture Study #13 illustrate the formula and a variety of tactile finishes of Dolomite Plaster. Spanning from creamy and thick layers that accentuate architectural forms to a raw and brushed character, the photographs reference Dolomite Plaster’s rich consistency that imparts subtle depth and tactility to interior walls and ceilings. Follow us on Instagram to discover more visual studies.

Images Credits:
@oslodeco
@daniellesiggerud
@simonebodmerturner
@dailydosearchive
@ronanerwanbouroullec
@lena_norling

A selection of inspiration behind Bredgade, Rue Bottero and Sundkrogsgade shades from our Original Pigments and Dolomite Plaster collections.

Reflective of the leisurely passing of time in the summer months, Colour Study #22 concludes the warm and sunny hues from our original palette. The visual inspirations reference architecture, colourful facades, interiors and natural environment–the pillars of St. Leo’s universe. Follow us on Instagram to discover more visual studies.

Images Credits:
@victorstonem
@marco_mansi_
@lotta.motta
@yosigo_yosigo
@saskiawilson
@victorstonem

A selection of inspiration behind Via Aurelia, Krystalgade and Magstræde–the beige to brown shades from our core colour palette that bestow warmth.

The gentle profiles of stonework facades and natural minerals like rocks and clay reflect the warm undertones and soft character behind Magstræde, Via Aurelia and Krystalgade shades. Follow us on Instagram to discover more visual studies.

Images Credits:
@karinasmagulov.a
@yosigo_yosigo
@imdad_barbhuyan
@rubyatelier_
@paula__szturc
@marco_mansi_

A selection of textural inspiration behind St. Leo Original Pigments paint formula which provides superior colour depiction and a smooth, high-coverage finish.

On the opposite side of St. Leo’s textured spectrum lies the creamy and smooth finish of the Original Pigments paint collection. The tranquil shots of ceramic sculptures, minimalist architectural forms and still life cater to the atmospheric aura of interiors finished with Original Pigments. Follow us on Instagram to discover more visual studies.

Images Credits:
@nomades__
@normarchitects
@formelism
@willowstyleco
@daniellesiggerud
@rosaliapark

A selection of inspiration behind Ancoats–the rich green shade developed in collaboration with Youth Studio.

Ancoats is a rich forest green shade inspired by the industrial, dark green paint that adorns urban architecture in the Manchester neighbourhood of Ancoats. We mirror that inspiration via green-tinted landscapes, abstract art and modern interiors. Follow us on Instagram to discover more visual studies.

Images Credits:
@droulers_architecture
@oferliaigakrefft
@kazunorihamana
@mathildegoehler
@aadrijkskunde
@ad_magazine

A selection of textural inspiration behind St. Leo’s forthcoming Marble Paint collection inspired by the lime-washed walls of European facades and interiors.

The abstract details of veined marble surfaces, landscape forms and carved sculptures constitute the inspiration behind St. Leo’s soon-to-launch Marble Paint, which provides a subtle lime-washed finish that brings depth and character to interior spaces. Follow us on Instagram to discover more visual studies.

Images Credits:
@carla_cascales_alimbau
@framacph
@irinaboersma
@formelism
@charlotte_lapalus
@rubyatelier_

A selection of textural inspiration behind St. Leo Dolomite Plaster’s textural character.

Texture Study 10 is a collection of nature- and man-made art, objects and sites that exude a cracked and coarse character, which is embraced through the various finishes of Dolomite Plaster. The presence of finely crushed dolomite stone and recycled ash imparts texture and adds a subtle speckled pattern to surfaces cast in Dolomite Plaster. Follow us on Instagram to discover more visual studies.

Images Credits:
@marc0_mansi_
@white__sage
@colinking
@rubyatelier_
@verdenius
@ad_magazine

A selection of inspiration behind Gammel Strand, Prinsessegade and Århusgade–the powerful and warm tones in our original colour palette.

Through the monochromatic study of dusty pink and terracotta hues, Colour Study #19 represents the key qualities of our Dolomite Plaster and Original Pigments collections. The Renaissance architecture provides colour and textural inspiration while the still life motif connects the culture and nature influences, both of which are central to St. Leo’s philosophy. Follow us on Instagram to discover more visual studies.

Images Credits:
@marco_mansi_
@atelier_ars
@yokonegi_official
@ad_magazine
@antoniomonfreda
@colinking

A selection of inspiration behind the beige shades in our Original Pigments and Dolomite Plaster collections–Rue Bottero, Sundkrogsgade and Via Aurelia.

The recent Colour Study #18 translates the subtle sandy tones through visuals of romantic interiors and scenery. Follow us on Instagram to discover more visual studies.

Images Credits:
@_martin_morrell
@marco_mansi
@oscarpiccolo
@tea__at__shiloh
@olivier.abry
@nour_elmassry

A selection of textural inspiration behind St. Leo Dolomite Plaster’s mineral formula and its versatile finishes.

Texture Study #9 is a collection of abstract close-ups, encapsulating the raw texture of stone, and its application in an architectural context. Through this inspiration, we return to the primary qualities of our materials and reflect on how they translate into ambient interior spaces. Follow us on Instagram to discover more visual studies.

Images Credits:
@nomades__
@kassandraaaa
@michaeleastmanphotography
@sophiaroe
@hampusper
@paolo_abate

A selection of inspiration behind Rue Bottero, Sundkrogsgade and Bredgade–the soft beige and sandy tones of our colour palette.

The newest Colour Study #17 explores the visuals behind the tactile quality of St. Leo Dolomite Plaster. This selection of architectural details and stonework in natural, warm ecru mirror the character of our mineral based wall covering.  Follow us on Instagram to discover more visual studies.

Images Credits:
@a_gaut
@genevievelutkin
@marco_mansi_
@moodlings
@pottershousemallorca
@woobyoungyun_

A selection of textural inspiration behind St. Leo Dolomite Plaster’s mineral formula and its versatile finishes.

The essence of Texture Study #8 comprises lines and geometrical shapes found in daily surroundings, art forms and architectural details. Follow us on Instagram to discover more visual studies.

Images Credits:
@morqarchitecture
@sashabab
@percapitastudio
@sophiepinet
@mariavannguyen
@anettehallback

Introducing Original Pigments, St. Leo’s first paint collection.

Original Pigments is a collection of paints crafted from premium, sustainable and locally sourced ingredients to achieve timeless beauty that is uncompromising on quality. A considered recipe combines the finest titanium dioxide and liquid pigments with waterborne, solvent-free binders and thinners to ensure a superior colour depiction, high coverage, low-VOC and a healthy environment.

Original Pigments comprises three finishes designed for interior walls and ceilings, and three finishes for the enhancement of wood and metal surfaces. The collection includes a variety of profiles spanning intense matte, semi matte and gloss, and includes water repellent paints for bathrooms and kitchens. An initial palette of 16 elegant colours is mixed in Denmark to complement St. Leo’s Dolomite Plaster collection in addition to an endless spectrum of tailored solutions made to order.

FINE QUALITY

Beautiful paint is achieved through the sum of its parts—through the quality of each ingredient, the science and art of mixing each recipe. Original Pigments is made from the finest raw materials, locally sourced and formulated to achieve rich colour depiction, technical capability, safety, easy application and durability, whilst reducing impact on the natural environment. Original Pigments products have a thick and creamy consistency, excellent coverage and fast drying times. Each paint is designed to stand the test of time with resilient and wipeable surfaces that are easy to keep clean.

THE ALCHEMY OF COLOUR

Colour—with all its emotive, psychological, cultural and aesthetic power—is the core tenet of Original Pigments. As the name suggests, our colours reflect the originality of their global inspiration sources, material compositions and hand mixing, the originality of their end destination and all the individuals who will experience them. The achievement of enticing and lasting colour lies in the alchemy of pigments and base ingredients, and in the testing and perfection of NCS recipes. Original Pigments offers exceptional colour accuracy and depth thanks to the quality of the organically derived liquid pigments and high proportion of clay and titanium dioxide present in our formulas. St. Leo colours express themselves vividly and provide rich coverage in one to two coats—promising lasting beauty and atmosphere

View The Collection

A selection of inspiration behind Admiralgade, Herluf Trolles Gade and Ancoats. 

In Colour Study #16, subtle green is paired with classic neutral tones through imagery of Renaissance façades, mineral textures and timeless interiors. Follow us on Instagram to discover more visual studies.

Images Credits:
@lauralange.dk
@sophiepinet
@ostersjosten
@rherrerok
@ad_spain
@johnpawson

To complement our collection of Dolomite Plaster products, we will soon release a series of beautiful paints designed to enhance interior walls and ceilings and to finish wood and metal surfaces. Featuring a colourful palette inspired by timeless facades and architectural streetscapes around the world, Original Pigments is crafted with the highest production standards and fine quality ingredients that are sustainable and low-VOC. To develop the collection, our team has embarked on a colourful journey—exploring the spectrum in search of the perfect neutral, characterful and atmospheric tones that will stand the test of time. Before developing each paint recipe, we test pigments for their range of hue, saturation and brightness through a process of hand mixing and matching—as seen here. An initial palette of 16 colours launches next week, while the full offering of 80 colours will arrive this spring. More details will be revealed soon.

A selection of inspiration behind Sundkrogsgade, Bredgade and Via Dante—three warm-toned shades in the Dolomite Plaster palette.

Encapsulated in interior spaces and design objects, the gold-tinted photographs of Colour Study #15 carry the warmth and calm of St. Leo’s wall coverings. Follow us on Instagram to discover more visual studies.

Images Credits:
@mie_juel
@thealovstad
@riviersneda
@johnpawson
@martinodinapolirampolla
@nowness

A selection of textural inspiration behind St. Leo Dolomite Plaster’s mineral formula and its versatile finishes.

Texture Study #7 is a collection of glass objects and architectural forms shaped by light. It reflects the dynamic range of Dolomite Plaster taking on unique hues in different light conditions, and the qualities of our Topcoat Five–a translucent finish for increased durability. Follow us on Instagram to discover more visual studies.

Images Credits:
@sophiepinet
@giustinistagetti
@simonebodmerturner
@verdenius
@_____allina
@christian2portzamparc

A selection of inspiration behind Admiralgade and Via Cenami—two cool grey Dolomite Plaster colours characterised by moody blue undertones.

Through Colour Study #14, we delve into azure interiors found in the Mediterranean, calming sky-coloured textiles and mid-century modern art. Follow us on Instagram to discover more visual studies.

Images Credits:
@a_gaut
@charlottetaylr
@julyadrichem
@laura_fulmine
@rassabotanicals
@timbeddow

During 3 Days of Design, we hosted a creative workshop together with The Audo, Atelier Plateau and MENU, inviting 20 members of the press to experiment with Modernist shapes and custom colours of our Dolomite Plaster. The workshop provided participants with first-hand insight into Atelier Plateau’s creative process and marked the unveiling of their limited-edition art collection at The Audo, titled BEYOND THE SURFACE.

During the event, guests sketched and cut their own miniature BEYOND THE SURFACE compositions from pre-painted boards, then assembled the pieces into their own abstract relief. Anne and Mikkel from Atelier Plateau were on hand to demonstrate different brush techniques to create beautiful finishes using Dolomite Plaster in tone-on-tone colours.

The workshop was designed to offer a practical and creative experience during Copenhagen’s 3 Days of Design, and to bring out the artist in all who joined. The result is a set of 20 completely unique works made in under 45 minutes, each exemplifying the many colour and texture possibilities of St. Leo Dolomite Plaster.

Thank you to The Audo and MENU for hosting the workshop, and to Anne and Mikkel for their creative guidance. The BEYOND THE SURFACE collection is currently on view at The Audo, Århusgade 130, 2150 Copenhagen.

Photography by Værnis Studio.

A selection of textural inspiration behind St. Leo Dolomite Plaster’s mineral formula and its versatile finishes.

Texture Study #06 muses on Dolomite Plaster’s material roots: stone. From natural stone, to sculpted marble and contemporary architectural expressions, these images provide inspiration for the many textures and applications our plaster can offer. Follow us on Instagram to discover more visual studies.

Images Credits:
@ad_magazine
@c__l__o
@houseofgreylondon
@marielouise_hoestbo
@simonebodmerturner
@studioolivergustav

A selection of inspiration behind Via Lovanio and Herluf Trolles Gade—two of the most integral and complementary colours in our Dolomite Plaster collection.

The St. Leo Dolomite Plaster collection explores a range of timeless shades found in natural pigments. In our Colour Study #13 we explore the purest black and white forms–constituting both ends of the spectrum–through photographs of architectural details and geometrical shapes. Follow us on Instagram to discover more visual studies.

Images Credits:
@apt.journal
@ark_and_friends
@jonasbjerrepoulsen
@liaigre_official
@quadro_room
@rubyatelier

During 3 Days of Design, The Audo will unveil a new exhibition with Danish architect and design duo Atelier Plateau, titled BEYOND THE SURFACE. The collaborative collection takes inspiration from The Audo’s new interior design concept and explores Modernist form and colour through a series of limited-edition, handmade wall reliefs finished with St. Leo’s sustainable Dolomite Plaster. In celebration of the forthcoming exhibition, we visited Atelier Plateau’s Copenhagen studio to observe Anne and Mikkel’s creative process and discuss the inspiration and philosophy behind their practice.

ST. LEO: Please tell us about Atelier Plateau and the concept behind your practice?
ATELIER PLATEAU: We are a creative studio exploring the creation of unique, handmade wall reliefs. All the art pieces we make focus on the interplay between light, shadow and textures. With these conditions and depending on the movement of the light within a certain space, each wall relief takes on a different expression. Based in Copenhagen, our studio was established in the beginning of 2020 and we draw daily inspiration from Scandinavian design heritage and craftsmanship—striving to bring this into the development of our reliefs. Our vision is to encourage the observer to be present in the moment and to reflect. We believe that is an important gesture in today’s society.

SL: What are the main elements of your pieces?
AP: Our wall reliefs are all handmade in our studio. We use wood materials painted with eco-friendly paint and plaster. In the construction of each relief, we work with monochrome plateaus in various depths to create different light and shadow conditions. We always aim to add atmosphere to a space without demanding excessive attention, and instead find ways to go into dialogue with the space itself.

SL: What is your process from concept to realisation?
AP: Our creative methodology is always anchored in a visual atlas of atmospheres, colours, materials, textures and moments to create a point of departure for our ‘inspiration’ phase. Continuing into our ‘composing’ phase, we experiment with form with a focus on the interplay between light and shadow. From here we develop our art pieces further in the ‘detailing’ phase, where our process goes beyond the form alone to deeper explorations into colours and textures. Throughout each phase we always strive to balance the impression and the expression in a subtle manner.

SL: Where do you draw inspiration?
AP: In our work we aim to have an equal sense of history, time and Genius Loci (a “Sense of Place”). In a time where our living and sensing is dominated by digital realms, our wall reliefs reintroduce a thousand-year-old tradition rooted in the physical sensing of our inhabited surroundings. Reliefs with motifs, patterns and tales, made of wood, are a well-known and cherished tradition around the world. With the explorations into light and shadow, we encourage the observer to spend time in the space to experience the changing expressions of each wall relief as the time and conditions in the space change. The interplay between the wall relief and the space itself is essential. In our bespoke BEYOND THE SURFACE collection, we strive to identify the sense of space and to study existing materials, colours and details.

SL: How does your experience as architects impact or inspire your work as Atelier Plateau?
AP: With our professional background in architecture and spatial design, we perceive our wall reliefs as a natural continuation of our past work. We explore and challenge the experience and perception of our surroundings through our collection—as it is equally about the space as it is about form. These observations are anchored in how we experience surfaces, light, and the elements around us. We are fascinated with how a subtle change in a surface can transform the atmosphere in a space. As spatial practitioners, our aim is to orchestrate the balance between the proportions of the space, the light conditions and the remaining interior.

SL: How do you approach your relationship as a creative duo and couple?
AP: We appreciate our ability to merge our working and private lives, as well as our family life. We strive to have a continuous creative process where both of us can equally contribute our individual ideas and aspirations. As partners, it is also essential that we share the same overall aims and have a common understanding of how and when we wish to work, finding a holistic balance in our everyday.

SL: How have you approached your work during Corona, and how has this time of isolation and reflection impacted you?
AP: During Corona it has become increasingly essential for us to be surrounded by physical objects that appeal to all of our senses, in a time where our external communication has been especially virtual. In our home we have therefore made more space for inspiration and brought materials and samples from our atelier to strengthen that process. The lockdown period has also given us the reflection time to concentrate and immerse ourselves in the BEYOND THE SURFACE collection.

SL: How did the Beyond the Surface project come about?
AP: When we first received the invitation from The Audo to create a bespoke series of works, we knew immediately that we wanted to take part. Both the opportunity to develop a site-specific collection in such inspiring surroundings as The Audo, and to experiment with the textures and colours from St. Leo, has brought both inspiration and joy. This bespoke collection holds the values that we appreciate and has culminated in a range of wall reliefs celebrating the different spaces and atmosphere at The Audo.

SL: Please describe the concept behind the collection.
AP: BEYOND THE SURFACE is an exploration of Modernist forms and colours—in synergy with The Audo’s new interior design concept. Taking in the existing spaces of The Audo, we immediately felt inspired by all the architectural details. We closely studied the existing materials, colours and textures as an investigative process to inform our art pieces. Each wall relief has been developed for a specific location at The Audo and we have carefully selected the colours to work in harmony with their context. This dialogue between the spaces and our art pieces has been the backbone of our whole process. In combination with the form making, our collaboration with the talented team behind St. Leo has been a journey into new materiality and the art of mixing colours.

SL: Tell us MORE about the materials and colours used in the collection.
AP: For BEYOND THE SURFACE, we have worked with St. Leo on a combination of existing Dolomite Plaster colours, as well as several custom hues made especially for the collection—each inspired by The Audo’s Modernist interior design concept. The bold and rich red colour, for instance, draws upon the Bauhaus universe and also serves as a reference to the exterior facade of The Audo. When taken together, the colours of the wall reliefs blend into the existing context whilst creating dynamic accents. The artworks have been greatly impacted by the beautiful colours and textures from St. Leo, which provide unique and lively surfaces. All the colours were hand-mixed by St. Leo from natural, powder pigments and we have aimed to retain the material’s authenticity in each relief.

SL: Are there any particular pieces in the collection that you are most excited about?
AP: Through this project we have been exploring larger scales than we are typically accustomed to. For instance we made a five-meter tall wall relief, which is our largest piece so far. We are fascinated with the experience the different scales provide to the viewer, and how the light travels across large surfaces to create a sense of spaciousness.

BEYOND THE SURFACE opens at The Audo on September 2nd. All works are for sale in-store, with a selection available at shop.theaudo.com.

Photography by Værnis Studio.

A selection of inspiration behind Rue Alézard, Langeline and Via Lovanio—colours characterised by mossy green to grey undertones.

Inhabiting the darker end of the St. Leo Dolomite Plaster spectrum, these three shades shift between olive to moss to grey. Colour Study #12 explores the natural and manmade expressions of these moody hues. Follow us on Instagram to discover more visual studies.

Images Credits:
@ad_magazine
@holliebowden
@niels_stroyer_christophersen
@stephanie_somebody
@studiokaya
@thechomie

A selection of textural inspiration behind St. Leo Dolomite Plaster’s mineral formula and its versatile finishes.

Texture Study #05 explores the organic and serpentine forms found in nature. These flowing sculptures and architectural details echo the natural and sustainable composition of St. Leo Dolomite Plaster, which consists of crushed Dolomite stone and organic pigments. Follow us on Instagram to discover more visual studies.

Images Credits:
@agmesnyc
@asunlehti
@jossmckinley
@simonebodmerturner
@sophiepinet
@stephenellcock

A selection of inspiration behind Herluf Trolles Gade, Rue De La Perle, Via Dante, Sundkrogsgade and Bredgade—the lightest colours in our Dolomite Plaster collection.

While developing St. Leo Dolomite Plaster, we underwent a deep exploration of colour to arrive at a palette that is versatile, timeless and characterful. In our latest Colour Study #11, we revisit our inspiration archives containing visuals of lightly-hued natural objects to faraway places to organic sculptures. Follow us on Instagram to discover more visual studies.

Images Credits:
@karinamagulova
@ark_and_mouch
@lauritzen
@olivier.abry
@slow_roads
@white_sage

In our latest At Home feature, we speak with architects and designers Anne Berthelsen and Mikkel Johnsen from Atelier Plateau, a design studio focused on creating patterned motif artworks from natural materials. Read on to hear how the Danish couple balance their work and home life under one roof.

ST. LEO: How has your perspective of home changed lately? To you, what is the most important thing about home?
ATELIER PLATEAU: Our home is the space for both our professional and private life. The boundaries between our family and creative everyday are merging, which allows us to experiment with our home—a project that will be in constant change. To both work and dwell at home is not new to us, however lately this symbiosis has become even clearer as the majority of our everyday is spent home. The atmosphere in our home is essential to our everyday wellbeing and is defined by the light, the canal outside and all the details.

SL: How have you been creating and maintaining an inspiring atmosphere for yourself at home?
AP: Our creative methodology is always anchored in a visual and physical atlas of atmospheres, colours, materials and moments to create a point of departure for a project. Lately this has become increasingly essential to our work, as we believe it is important to be surrounded by physical objects that appeal to all our senses in a time where our external communication is mainly virtual. In our home we have therefore made more space for inspiration and brought materials and samples from our workshop to strengthen that process.

SL: Now can be a time to notice things we might otherwise miss. Could you please share some scenes or details from your home that inspire you?
AP: We are continuously exploring and challenging our perception of our surroundings. These observations are anchored in how we experience surfaces, light and the elements around us. We are fascinated with how a subtle change in a surface can transform the atmosphere in a space. When we originally moved into our Copenhagen Canal House it was a ‘white box’. Since then we have worked with every surface to get a raw, yet cozy atmosphere. Some days we are intrigued by the unfinished corners here and there, while other days we are eager to complete the many unfinished experiments in our home. We live close to an open sky and expanse of water, and we find calmness and inspiration in our connection to nature. For instance, we grow vegetables at our roof terrace and during the day we open up the glass facade towards the canal to bring the exterior into our home. Since our home has large glass windows, we have installed curtains to work with the natural light. The curtains are made in different colours and nuances, which allows us to move them around, adjust to the light conditions and explore new atmospheres in our home.

Photography by Værnis Studio.

A selection of inspiration behind Århusgade, Rue Loubet, Gammel Strand, Prinsessgade and Magstræde—five colours with blush and warmth.

In this colour study we visit the vibrant power of red through flowers in bloom and saturated interiors. Follow us on Instagram to discover more colour and texture studies.

Images Credits:
@nathanwilliams
@surrealjamesnelson
@victorstonem
@martinodinapolirampolla

During an architecture workshop in Copenhagen, St. Leo asked UK practice YOUTH to mix their ideal shade of St. Leo Dolomite Plaster. This elegant green is the result of their creativity, and is now available to order in our collection.

Collaboration is at the core of St. Leo’s practice, and our Dolomite Plaster presents almost endless colour and texture possibilities—all it takes is a little colour pigment, our raw plaster mix, and an inspired idea to create a unique product. With collaboration and experimentation in mind, last fall we welcomed YOUTH STUDIO and 35 other international architects to a St. Leo workshop held at The Audo in Copenhagen. We invited the professionals to team up, gather their tools and plaster, and create their own shade of Dolomite Plaster. The result was an array of enticing colours spanning the spectrum, from rust to cobalt to pink.

Following the workshop, the St. Leo product development team chose to put one, truly special colour into production. Created by YOUTH STUDIO and named after the location of their UK office, Ancoats brings a rich forest green to the Dolomite Plaster collection. The colour is inspired by the industrial, dark green paint that adorns urban architecture in the Manchester neighborhood of Ancoats. This industrial green has a deep and rich character, whilst also being simple and honest. Ancoats by YOUTH STUDIO is available to order now for interior spaces in need of a timeless yet bold lift. Visit the link below to see Ancoats and the full Dolomite Plaster collection.

In our At Home segment, we hear domestic insights from creatives working in the interiors field. This week, Sofie Brünner—designer, stylist and design director at RUM Magazine—shares how she has been rediscovering a sense of home in Copenhagen.

ST. LEO: How has your perspective about home changed lately? To you, what is the most important thing about home these days?
SOFIE BRUNNER: I’ve recently discovered new angles in my home and have started spending time in parts of the house that I’ve never utilised before. The right light, view and surroundings are vital when creating an atmosphere for working, relaxing or socialising with family in your home.

SL: How have you been creating and maintaining an inspiring atmosphere for yourself at home lately?
SB: I have been upping my game in buying art. Both via online galleries, auctions or directly from the artist. I try to get a mix of photo art, sculpture and wall pieces that add stories and texture to the space.
We recently moved to a house with a garden and taking the time to delve in and out of the house during the day and experience the metamorphosis happening in nature right now, seems to calm and keep my head straight these days.

SL: Now can be a time to notice things we might otherwise miss. Could you please share some scenes or details from your home that inspire you?
SB: Having gone through some twenty shades of greige to find that perfect tone in which I have painted all walls, ceilings and panels, I am now excited to see how light changes the colour throughout the day. Especially the view through several rooms at a time and the way light and shadow creates hundreds of tones—this makes my heart pound!
The deep red wall cupboard was a spontaneous decision. These days I’m thinking life would be dull without these instinctive outbursts.
I’ve been getting all my material samples out for an unforeseen interior project. Taking the time to see how a certain textile or tile transform according to light conditions has become an unintended luxury.

In our newest At Home feature, a new series of domestic insights offered by creatives, we hear from Andrew Trotter — founder of Openhouse Magazine — as he shares his experiences of sustaining creativity at his Barcelona home.

ST. LEO: How has your perspective about home changed lately?
ANDREW TROTTER: I have home and my office as one for the past year, so in the end nothing much has changed. Usually when the Openhouse team are here, I have my desk in my “home” space which is divided by curtains, but since there is only myself and Marcelo here, we have taken over the desks of Openhouse so we can separate a bit of the work day and the home life.

SL: To you, what is the most important thing about home these days?
AT: There is more order to my home now. We play around with things that before didn’t concern me, or I didn’t find the time. Marcelo is meticulously clean and tidy, which I quite enjoy.

SL: How have you been creating and maintaining an inspiring atmosphere for yourself at home lately?
AT: We are very lucky, that between the architecture studio and Openhouse magazine we have a lot of work which is keeping us busy, but we are taking it easy and relaxed, knowing there is not too much pressure or deadlines. We are working on a few projects right now, and I made a model of a house that I would like to build for myself in a few years’ time. Just a little dream. I’m also taking time to actually read the books that have been on my shelves for ages. Architecture books that I know the pictures well, but never read the text. This is a time to learn.

SL: Now can be a time to notice things we might otherwise miss. Please share some scenes or details from your home that inspire you.
AT: Our home studio is an industrial building from the 70s/80s. It is quite raw, yet we have made the space very livable and cozy, and the light in the late afternoon is amazing with the huge windows. All the walls and ceilings are white, and we have started to notice more these days that a texture and colour to these walls would be perfect. It would soften the space, make it more inviting and photogenic. Light, colour and textures are what build the space. We are full of curtains, as we have such big windows, and curtains that divide my space from the office, yet in these days we have been thinking that more curtains are needed to make translucent separations between the Openhouse kitchen and the office too. The space is so big and open, that is beautiful in one way, but sometimes lack the intimacy that houses with smaller rooms give. Everything is on display, so it seems okay to the eye, but messy in the photos where walls that divide would act as a backdrop to scenes and make the visitor discover room by room – rather than being so obvious from the beginning. We are in love with our space, but we always know we can do more.

Photography by Salva Lopez.

Introducing At Home, a new series of domestic insights offered by creatives. In our first interview, Jonas Bjerre-Poulsen — founder of Norm Architects — shares how he has been thinking about home lately, and what perspectives have arisen from a renewed focus on domestic life.

ST. LEO: How has your perspective about home changed lately?
JONAS BJERRE-POULSEN: Working with residential architecture as well as hospitality, I have always tried to be very thoughtful about what makes a good home. In Denmark and beyond, we seek simple comforts and soft-spoken luxuries in our homes and daily lives; welcoming spaces and tranquil settings where we can feel at ease and find room to celebrate what is truly important in life. Unhurried moments with loved ones and sanctuaries for contemplation in a world of distraction and hyperstimulation. It’s a fact that modern society favours vision above our other senses. The speed in which we consume imagery and visual content has accelerated heavily. The information perceived by the eye is digested within moments, and we immediately proceed in our search for new input, new visuals. The issue here is that we end up shaping the world around us to please the eye. If it looks good, that’s all that matters. But architecture and design talk to the entire body and all its sensory realms. Design touches us, physically. Hence, good design must not only look good, but also feel good, sound good, even smell good.

SL: To you, what is the most important thing about home these days?
JBP: The fact that human and nature are inseparable makes it all the more vital to have nature be part of our indoor environments – living surfaces, soft and calming nuances that makes us feel at ease. How we act or behave is largely influenced by how we perceive our surroundings, the same way we’re likely to act somewhat differently wearing a suit and tie from when we wear soft sweaters and knitted socks. The built environment that surrounds us is extremely important to how we feel on the inside. Surface and content are part of the same whole.

SL: How have you been creating and maintaining an inspiring atmosphere for yourself at home lately?
JBP: This new situation has given me the gift of time. Time to reflect, time to be present and time to work creatively with personal projects I have been thinking about for a long time, but never found time for. For the past weeks I have photographed intensively for a private book project in my small garden studio, which is finished with St. Leo walls, and worked to upgrade my house. Amongst other things I have worked on sewing new bedspreads and pillows in Sacho fabrics for my living room and bedroom to give the spaces a golden, warm and welcoming spring colour. I have also painted the walls and my big old closet in my bedroom. I went from white to a very light and textured grey. But it makes all the difference in the world. The more you work with colour, the more sensitive you become to even the slightest change in nuances. I’m slowly becoming an expert in grey tones.

About Jonas Bjerre-Poulsen
Jonas is an architect and founding partner at Norm Architects with over a decade of experience as an architect, designer, art director and photographer. Jonas shares his passion for phenomenology — the philosophical study of human experience — and striking spaces, objects and images with clients that range from established design brands to international magazines and private homeowners.

Photography by Jonas Bjerre-Poulsen