Thanks for the feedback Albert! Whenever I re-check my glasses I ask about this unusual amount of fatigue I get from office fluorescent lighting when no windows are present, but I never get any good feedback--or even taken seriously. Frustrating. Seems like an area where there should be some research. So I'm not sure what aspect of the lighting is bothersome. I ordered some LED lightbulbs in the 6,000-7,000 spectrum range from ledwholesalers.com. We'll see how bright they are--a bit expensive for ordering a lot of them, though, so I wanted to look at incandescents as well.

Okay, "old fluorescent light" is probably the problem. I'm guessing you've got four-foot long T-12 bulbs (tubes that are 1 1/2" in diameter). Is this right? Most of these bulbs are pretty bad, in terms of color rendering. I suspect you'd see a considerable improvement if you switched to better bulbs. However, if you've got an older T12 fixture then better bulbs may be hard to come by. It would make sense to switch to a newer fixture that will accept T8 bulbs, which are common and of which you'll find a large selection. Don't get hung up on the term "full spectrum," as this is basically a marketing term and an excuse to take more of your money than necessary. Instead, pay attention to two technical numbers that should be printed somewhere on the bulb box: One is the Color Resolution Index, or "CRI." This is a scale from 1 to 100 that tells you how well a light source lets you distinguish between different colors. Higher numbers are better. Choose bulbs that have a CRI of at least 85. The other number to look at is color temperature. This will be a four-digit number followed by the letter K, as in degrees Kelvin. Lower numbers such as 3000K are warmer colors, more towards the red/orange/yellow end of the visible spectrum, while higher numbers such as 5000K lean towards the cooler, bluer end of the spectrum. BTW, Natural sunlight does have a lot of blue in it, except at sunrise/sunset (note the color of the sky) and this is what many bulbs marketed as "full spectrum" are trying to emulate. Anyhow, you want a bulb that has as high a CRI as possible and that also has a color temperature that makes sense with the color of the room's furnishings. You'll face a bit of a dilemma here, because the warm cherry cabinets suggest a warmer color temperature, perhaps 3500K, but a limitation of current fluorescent technology seems to be that the highest CRI ratings are only available in cooler, higher-color temperature bulbs. I know that my local Home Depot has four-foot T8s with a CRI of 85 in several different color temperatures. These are something like $3.50 per bulb. They also have some very high CRI bulbs (92 or 95, I think) that are only available in a high, cool color temperature and are more expensive. In your shoes, I'd probably try both. I'd get a couple of the 85 CRI / 3500K bulbs, and a couple of the higher CRI but cooler bulbs, try them both and see which I liked better.

Has nothing to do with emitting light. Artists and color scientists have narrow, singular areas of expertise when it comes to color. Often they believe because of that limited knowledge and expertise they know and are aware of EVERYTHING there is to know about color. Usually ends up they don't know squat about what happens with and to color from the holistic human experience of architecture and space. Mixing color and applying it to a canvass is random child's play compared to coloring three-dimensional structure. Testing different swatches of color under different colored light bulbs gives us nothing that is useful or meaningful. Remember the more colorants involved mixing the color the MORE metameric it becomes. Few colorants = more constancy. Thats why most commercial paint colors only use 1  4 colorants per color. Also a factor is cost. This is ultimately what regular paint manufacturers do not understand  they canÂt relate to WHY anyone would WANT a non-constant paint color. Why in the world would anyone want a paint color that shifts with the ever-changing natural light source in a room. As an industry, unpredictable and ever-changing paint colors is exactly what theyÂve worked tirelessly to AVOID. And now they are expected to believe that consumers will pay upwards of $50 for a can of paint that shifts and changes with the light. They are confused. Full spectrum is described as luminous because when compared to regular paint colors, it looks and feels like FS reflects more light back into the space. From a micro perspective within the paint color, particles of black colorant will keep most of the light that hits them. "Colored" colorant will absorb some light wavelengths and reflect what it cannot absorb  thatÂs fundamentally what color IS and DOES, right? Why is an apple red? Mixing color without black means odds are most all of the colorants in the color will reflect *some* portion of light back into the room and contribute to the atmosphere and the human visual perception of reflected color. Black doesnÂt do that  it keeps all the light it gets and the visual experience is different because of it. Black colorants contribute nothing back into the atmosphere. Some people say regular paints look dead in comparison to full spectrum. Many people will look at color from that micro perspective only when itÂs convenient or easy to see and understand. Sherwin Williams VinylSafe paint is my favorite example. SW will mix any of their colors that can be mixed in exterior base without black colorant. A big part of why itÂs "vinyl safe" is because there is no black in the VinylSafe formulas. The colors absorb less light or energy. No black in the formula means there is less energy absorption to convert to heat that could melt the vinyl siding. To say that the reflectance abilities of a paint color can be measured and noted as useful for one purpose, i.e. vinyl safe colors, yet at the same time say that it is not detectable from a human visual or significant from a color experience point of view is kind of ridiculous. Manipulating color for reflectance  or luminosity  goals at the micro level either makes a difference or it doesnÂt. CanÂt have it be true and perfectly reasonable on one hand yet not the other. As far as mimicking the healing and therapeutic qualities of natural sunlight, you have to be willing to go down that metaphysical path of beliefs and tenants. Crystals, singing bowls, SADD light treatments, chakras, and on and on. Full spectrum colors reflect at a different rate and at a different quality than regular paint colors  that is simply the fact of how they are constructed. HOW - or if - that translates into a deeply meaningful or not so meaningful physio-psychological experience of color is entirely dependent on the individual. Or Response B: Full spectrum mixed colors "work" the same way regular colors "work". Except the each "work" opposite ends of the color & light relationship or in a single word, metamerism. There are different kinds of metamerism. Regular paint manufacturers - and even one specialty/designer palette, Devine Paint - maximizes control of spectral curves so their colors are not prone to shifting, or in other words so they are less metameric. Metamerism for all intents and purposes is a dirty word in all corners of color world. Most all color professionals across various industry feel there is absolutely no practical use for colors that shift and metamerism is the enemy of mass production. Constancy is what everyone is after. Arguably, the purpose of color science and color labs is to find ways to plot and manage color so it is predictable. Color constancy is the intent with which paint manufacturers create their colors. At the most basic level, constancy is achieved by using the fewest colorants necessary. ThatÂs why black is such a staple in all commercial tints  well, that AND itÂs cheap compared to other colorants. Full spectrum in essence is the opposite. Plus, there is the holistic, New Age spin. The intent here is to mimic natural daylight by including representational amounts of each spectral hue in every can of paint. Applied to walls, full spectrum paint brings the energy of full spectrum, natural daylight and all the healing and nurturing benefits that some people believe are inherent of light. Each room has a quality of light. A unique bundle of wavelengths beaming in, bouncing around off walls and other surfaces. ItÂs all a matter of how you want to deploy color on the walls to interact and respond to that light source. A paint that is highly metameric and shifts and changes, or one that doesnÂt. I do not remember where I got this from. But itÂs a nice explanation of curves and metamerism: 4.6. Metamerism 4.6.1. Two samples can appear to have the same color under one type of illumination but may appear dissimilar under different lighting conditions. This phenomenon is one form of metamerism. A second form of metamerism occurs when two samples appear to be the same color under all lighting conditions, yet their reflectance or transmittance curves are different. Both forms of metamerism are due to differences in pigment compositions. It is important to note that two objects with different reflectance or transmittance curves can have identical colorimetric values (tristimulus values or chromaticity coordinates). Therefore, it is not recommended to use colorimetric values alone for detailed sample comparisons.

accent wall dark gorgeous blue and yellow green, random width horizontal stripes alternating colors. Huge mirror on the wall reflecting the mural back at the wall with the stripes... . . is that way to much? Be honest!!! Yes, that would be way WAAAY too much in my house and I would be looking at beiges and creams. Speaking generally about the idea, I don't think a normal sized room can handle it. But if you have the money and time to do this, try it and fine out. Live with it for a couple months and see how you feel. Cross posting this on the Home Decorating forum will get additional responses.