Not so fast on that one. :)
When it comes to white paint colors, they tend to be bunched together in the same hue family region of the color wheel - like you see in the infographic.
For example, there are zero to few white paint colors across all brands that belong to the blue hue family. There are hardly any "blue whites" because super light, pale blues are difficult for color measurement tools to capture. If you can't measure it, you can't make it.
Most of the colors of white that people think are "blue" actually belong to the green and green-yellow hue families - there are a handful of whites that belong to the blue-green hue family. Once an expert points that out, you can't unsee it and you'll never mistake a 'blue white' for another color of white again.
What all that means is, by default, you don't have much of an opportunity to manage contrast of hue when it comes to colors of white because they're all bunched together like you see in the infographic.
My rule of thumb for white color schemes is I don't like the colors of white to be too close in terms of hue family notation/hue angle BUT I don't like them to be too far apart either. Yes, I absolutely reference the color notation and hue angle but I also base a lot on how it looks.
Color data values are a wonderfully supportive framework for the creative eye but you have to remember that you can not color by the numbers alone.
So, I do look at both hue family notation and chroma.
Here's an example of how that works:
I like my trim/cabinet/door whites to be lower in chroma, cleaner, nearer to neutral.
And then pair that low chroma white with white wall and ceiling colors that have more chroma.
Another rule of thumb --- As long as your trim/cabinet/door whites are lower in chroma compared to the walls/ceiling, it should work.
Psychologically this strategy works out better because higher chroma whites can look dingy in certain contexts, next to certain colors. Nobody wants dingy looking trim/cabinets/doors -- but those higher chroma whites work out really well on the walls and ceiling and the overall color design strategy because they will make the lower chroma whites 'pop'.
Higher chroma whites work out perfectly for walls/ceiling because there is more chroma. And because there is more chromaticity you can easily discern more of the hue parent in the white.
That's important because when you know - and can see whispers of - the hue family that your white(s) belong to, then you can easily figure out color relationships that are based on classic color wheel theories of harmony
And that's how you know what colors of white go with each other AND other higher chroma colors.
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Surfaces USA's Calacatta Manhattan polished marble;
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