Chancel Grey Metro Bevelled Tile 75 x 75mm

Yes. All eighteen shapes are rated for internal walls, wet and dry, so a shower enclosure, wet room walls, the wall behind a bath and a splashback are all within scope. The gloss glaze is non-porous, needs no sealing, and asks for nothing beyond warm water and a mild detergent.

As with any tiling in a wet area, the work that matters happens behind it: the background wants to be flat, sound and properly tanked before anything is fixed, and the joints kept in good repair afterwards. A pale glaze is forgiving about water marks in a way a dark one is not, which is a small practical point in its favour for a shower.

What it is not rated for is a floor. Artworks is a wall range from end to end.

No. Artworks is a wall range and a gloss wall glaze is not made to be walked on; underfoot it scuffs, dulls and becomes slippery when wet. That applies to every one of the eighteen shapes, from the field tile down to the 12mm Omega bead.

It rarely limits a scheme, and a pale grey wall is unusually easy to put a floor beneath — it will take a geometric, a plain stone, a timber or a terracotta without argument. Tell us the room and we will suggest something. Call 01344 620211, or come to 67 High Street, Ascot, and we will lay the two together.

A little, as with any glazed ceramic, and it is worth more attention here than on a strong colour. On a pale glaze there is very little depth of colour to absorb a difference, so a slight shift between production batches has nowhere to hide and can be picked up across a single wall once light crosses it.

Order the whole job at once and ask us to confirm the batch when we book it. Keep a spare box from that batch too: a replacement drawn from it will disappear into the wall where one ordered several years later may not.

Fix with a white flexible adhesive. The grout is the decision that matters here, and on a glaze this pale it settles one question: how much of the grid you want to see. That is the whole issue on a colour chosen for its quietness.

Matched close to the tile, the joints all but disappear and the wall reads as one soft surface — which is usually why people chose this colour over a white in the first place. A shade or two darker draws the grid deliberately and turns a quiet wall into a pattern, which suits the metro and large brick formats where the bond is the design. Both are proper choices; decide which one you are making.

Two to avoid. Brilliant white draws a hard bright net over a soft ground and undoes the very softness the colour was chosen for. And anything with warmth in it — beige, sand, biscuit — puts a temperature into the joint that the glaze has nowhere to answer, so it simply reads as unwashed.

Chancel Grey is usually in stock across all eighteen shapes we hold. Send your quantities over and we will confirm availability and a delivery date before anything is committed, so the tiling can be booked into the programme with confidence.

Delivery is free on UK orders over £1,000. You are very welcome at our family-run showroom at 67 High Street, Ascot, where the Original Style range can be seen in person, or speak to the team on 01344 620211.

Chancel Grey is the palest of them. Original Style call it their softest grey, and their own note on Westminster Grey places that one a touch darker, so the ordering at the light end is settled by the maker rather than by us.

Artworks runs to six greys and neutrals, and we now stock and have catalogued every one of them. Chancel Grey is the pale end of the family. Westminster Grey is the mid-grey, a shade darker, the one chosen as a backdrop for whatever paint goes above it. London Stone is the warm one, with a settled, long-established look. Charcoal Grey is dark but semi-opaque, so its glaze varies in tone across a moulded profile. Jet Black is the darkest glaze they make. Platinum is the metallic. Between them they cover the whole tonal run in one 152mm module, with mouldings to match at every level.

That matters more than a list of names. Because the whole family is held here, a graded scheme can be drawn from one range and one supplier — a pale field with a darker dado, or a black skirting under a soft grey wall — and every piece will course and line through, because they share the module and the profiles. Greys are also very hard to tell apart on a screen. Order samples of the two or three you are weighing up and look at them on the wall itself, in daylight and under the lamps you use at night.

That is precisely what it is for. Original Style describe it as their softest grey, so soft that it can be used instead of white where a pale, neutral tone is wanted — and in practice most people who choose it arrived at it that way. They held a white sample against the wall, found it colder or harder than they expected, and wanted the same quietness with the edge taken off.

What you gain is a wall that stays in the background without going stark. A bright white tile bounces light sharply and shows every joint; this reads as a soft continuous surface, particularly if the grout is kept close to the tile. What you give up is the crispness of a true white, which some rooms genuinely want — a small, dark bathroom often does better with white.

It is not a white with grey in it, which is a different thing again. It is a grey pale enough to stand where a white would. The only reliable way to settle it is to put the two side by side on the actual wall: cut samples are free to collect from our Ascot showroom, or posted to you for the cost of postage.

Eighteen shapes are stocked here. The flat formats are the Field Tile 152x152mm, the Half Tile 152x76mm, the Large Brick 228x75mm and the bevelled metro tiles in 150x75mm and 75x75mm. The finishing pieces are the Skirting Tile, the Plain Cornice and the External Corner Trim. Then ten mouldings: Victoria, Egg & Dart, Dentil, Rope, Albert, Hogarth, Scroll, Sigma, Astragal and Omega.

That covers a wall from skirting to cornice without leaving the colour, which is the practical point of a range this size. All eighteen share the 152mm module, so horizontals line through wherever they meet.

Original Style make a further group in this colour to order, subject to a minimum quantity and a manufacturing lead time: the Rectangle 152x25mm, the Round Edge Long, Round Edge Short and Round Edge External, the corner wrapping pieces for field and half tiles, the Internal Corner, and the handed corner mouldings for the Omega, Astragal, Albert, Victoria and Skirting. We do not keep those on the shelf, but they can certainly be had. Tell us early which your setting-out needs and we will price them and give you a realistic date. Call the team on 01344 620211.

Yes. Cut samples are free to collect from our Ascot showroom, or we can post one to you for the cost of postage. Seeing the glaze in your own light is the surest way to judge how it will sit against your paint, stone and metalwork.

As a guide, add around 10% to your measured area for cuts and breakages, and nearer 15% for a herringbone, diagonal or brick-bond layout. It is also worth keeping a few spare tiles from the same batch in case a repair is ever needed.

Three, and they are genuinely different pieces. The Large Brick is 228 x 75 x 8mm, fifteen to a box covering 0.254 m², at 58.5 tiles per square metre — the most elongated format in the range, and square-edged rather than chamfered.

The two metros are bevelled. The 150 x 75 x 10mm comes 38 to a box covering 0.442 m², at 88.9 tiles per square metre. The 75 x 75 x 10mm square comes 8 to a box covering 0.0465 m², at 177.8 per square metre — exactly twice the count of the larger metro, since the square covers half its face.

On a glaze this pale the chamfer behaves differently from the way it does on a dark colour. It catches a soft line rather than a bright one, so a bevelled wall here reads as gently modelled rather than sparkling. Worth seeing in the hand before deciding between a bevelled and a flat format.