Category: Guilding Vancouver

In May we had the opportunity to work on a very large entrance way ceiling in Shagnessy near 38th and  Granville Street. We applied a bespoke silver leaf ceiling with an antique glaze and satin finish. The end result is a pewter steel look with hints of black peeking through in the distress areas of the leaf. Each piece of leaf is installed 1 at a time over a jet black base. This is an eye-catching ceiling that brings the white wall paneling to life while adding character to the grand entrance.

Grand Entrance shaughnessy vancouver

Grand Entrance shaughnessy vancouver


We also installed a Damask stencil in a satin finish with hints of pearl over a cloud white base. It can only been seen in the shimmer of the light. With this application we made it possible to create a wallpaper effect with out seems, while also giving us the ability to fine-tune the final finish with the Architect, builder and owner.

Damask Stencil hand applied section by section

Damask Stencil hand applied section by section

Silver Leaf Vancouver

When I started this project I had no idea it would evolve into such an amazing opportunity to showcase my abilities as a business owner and a creative person. Working with the builder, designer and home owner every step of the way has had it challenges, but in the same right it has made the process fun, enjoyable and a great learning experience which I welcome. Learning new things everyday whether it be people related or plaster/job site related. I live to learn and grown.

Originally this projects exterior was going to get finished in a traditional exterior stucco and then faux painted to give it a similar effect as our Lime plaster. Having learned this I showed the builder my samples and mentioned plaster would be a far superior alliterative with less maintenance and a more authentic look then paint. So we got contracted to Italian lime plaster stucco the exterior of the entire house, Tadelakt Lime plaster all the exterior pillars and Lime paint all the exterior fibercrown mouldings. As the project progressed we eventually took over the installation of the fiber crown mouldings, which was a “massive” project on its own, with compound arches and pallets and pallets of mouldings to install it took close to 3 months just for that part of the project.

We are still currently working on this house getting close to completion on the interior which I will share a few photos of and the exterior which is nearing completion as well.

So, maybe you’re wondering: What is “silver leaf”? How does it get applied? And what are “gilding” and “size”? While I won’t be giving you any of my trade secrets that make me so good at what I do, I’m sure you’ll learn a few useful tips in this video.

The technique of “gilding”, or applying silver or gold leaf to objects, walls, and wood, has been used since the time of Ancient Rome, more than 2,500 years. Today, it’s used both to create a modern design feel or to bring the “old world” home again.

Have you ever used silver leaf or had an artisan work with it on one of your projects? Let me know about your experience with what I think is a classy, hand-crafted finish that never gets old.

Here, watch me apply a few leaves, then remove the excess. Keep an eye on the technique.

Darrell Morrison.

Recently, I finally got the tool I’ve been wanting to add to my company’s arsenal — a 12-colour carousel tinting machine.

You’re likely saying “A what?”

When I Say “Any Colour”, I mean It More Than Ever

For years, I’ve been creating custom colours. Many times, I’ve been unsuccessful because of technicalities, like not having proper colours available to me or a way to distribute them evenly or quickly among all the products I needed to mix to get the job done and done well.

Stuck working with these technicalities, a lot of my colours were found in one part of the colour spectrum — browns or tans, and even beiges now and then.

With the size of new lime-plaster interior projects and the new direction I’d like to take my Venetian plaster work in, I knew the time was right to get this tool that would make the difference in meeting my standards on a large scale.

As an example, I’m currently working on a 10,000 square-foot Intonachino lime-plaster interior. With so much surface to cover, the client is having a hard time choosing the perfect colour. We’re close, so they now only want slight shifts in shade and/or hue. (How are “shade” and “hue” different? Learn more by following this link.)

Picky? Not at all. Like me, they know job satisfaction is all about the details.

I’ve now taken great care to create 20 different colours for this project. That’s a bit of an extreme for any project, maybe, but you have to live with the colour long after I’m gone, and we need to get it right. I won’t get upset or rush you for a colour at the beginning of a project, because preparation and work can begin while we take the time to do the right things to help you come to a decision you literally can live with.

This tint machine makes my life easier and helps me live up to my dedication to getting you a a truly livable colour for your environment. Now, at any point in time, I can change a colour’s direction. You want a 25% lighter shade? Okay, not a problem. We don’t need a paint-shop pro or a chemist to guess it out. Let’s get that done ourselves — between you and me, and save ourselves a lot of headache and reduce wasted materials in the process.

Breaking It Down:

◦                                  Whatever your favourite material — Tadelakt, Intonachino, Carrara or Classic — I have full control over the colour and tint of the end-product.

◦                                  Your money gets saved because I’m not wasting materials or gambling on a factory’s ability to get those pallets of lime plaster tinted just the right way.

You want it lighter? Darker? I can change that on a dime now, so you get what you want when you want it. Hue by hue, shade by shade, we’ll nail the colour of your dreams.


Office:: 604.628.7855 | Direct:: 604.779.4233 | 9am to 5pm Monday – Saturday


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