Solid colours · Sintered stone

A screen can flatten small changes in tone. Compare the intended full piece with the approved sample and view it from more than one angle. If a wall and countertop touch, inspect the meeting line rather than comparing two separated swatches.

• Check a broad area, not only a small chip.
• Place directly touching materials together.

A solid face draws attention to thickness, shadow gaps and the quality of transitions. Show the desired visual edge on the drawing without treating it as a structural instruction. The fabricator should review how the effect can be achieved for the selected product and support arrangement.

• Draw the intended shadow line.
• Separate visible thickness from actual supplied thickness.

When plain surfaces differ only slightly, a conversation based on white, cream or grey can lose the reason one sample was preferred. Photograph the candidate samples together with their references visible, then write a short observation about each: warmer beside the cabinet, cooler near the metal, or too reflective in the principal view. Keep the physical references because the photograph does not establish a colour match. This selection record helps another team member understand the decision and makes later alternatives easier to discuss. It also prevents a single isolated image, taken under different light, from quietly replacing the sample relationship that was actually reviewed.

• Keep the sample identifiers visible in the comparison record.
• Write the reason for choosing a tone, not only its colour name.