Matte, or burnished.
That’s the choice. Matte absorbs light — suede to the hand, and the wall goes quiet. Burnished returns it, with the depth of cut marble, and the wall becomes the event in the room. Which material gets you there is mine to decide, taken from the room, its light and the walls you already have.
Marmorino
Slaked lime and crushed marble, laid with body. The aggregate gives it substance, a faint mineral grain, and a forgiveness the thinner finishes don’t have.
The two finishes
Two thin coats left uncompressed. Flat to satin, breathable, with the movement of the trowel still reading across the surface.
The same build worked back with the edge of the trowel as the plaster reaches clay dryness, until the surface takes a low or high sheen.
Suits
Ceilings, whole rooms, and walls that aren’t perfectly flat. Its body fills minor texture, which makes it the right call when the substrate is honest rather than ideal.
Veneziano
No aggregate. Laid in passes thin enough to see through, each one adding depth rather than thickness, so the color reads as if light enters the wall and comes back out of it. It’s the harder of the two, and the one that rewards a flat wall.
The four builds
Paper-thin passes left uncompressed, then lightly abraded for a soft, suede hand.
The second coat compressed with the trowel edge at clay dryness, to a marble-like polish.
An additional coat for depth or deliberate texture, finished without compression.
The deepest build, burnished to the highest polish. Wax optional for further depth.
Suits
Feature walls, entry halls, dining rooms, powder rooms — anywhere depth is the point. It needs walls delivered flat and smooth, because at this thickness the plaster reports the substrate rather than hiding it.
Also
Limewash
A breathable mineral wash with soft movement and a flat, chalky finish. Specified as a companion within a larger project rather than on its own.
Multi-tone
Two or more colors worked into a single wall, for depth a flat tint can’t reach. Quoted per project.
Color
Every finish is tinted to order. Send a paint number and I develop the match with the mill, then trowel a sample in the finish you’ve chosen and in your light, for approval before the room is started.
- What I needA paint number, or a chip, or a photograph of the room it has to live beside.
- What comes backA troweled sample in the finish and build you’ve chosen, not a color chip.
- Worth knowingLime reads lighter and chalkier matte than it does burnished. The same tint is two colors depending on how it’s finished, which is why the sample is made in the finish you’ve specified.
- Design librariesIf you keep one, I’ll make you a board for it.
How a project is quoted
Per square foot, by finish and build, after I’ve seen the room or the drawings. Ceilings, scaffold, curved walls and heavy detail carry their own adjustments, and all of it’s on the quote rather than discovered later.
- ScaleWhole rooms through whole houses. Cost per square foot drops as the job gets bigger, because the setup is the same either way.
- SubstrateWalls delivered smooth, flat and primed to level 5. Prep by others, or priced separately.
- Service areaAustin and up to 60 miles. Travel past 30 miles quoted per day.
- Applied byOne pair of hands, first coat to last. No crews, no rotation.
- Lead timeA room is days; a whole house is weeks, phased by area to fit your build schedule.