Tag: Intonachino Lime Plaster

Now you’ll see I don’t exaggerate. I said this Tadelakt fireplace was massive? It was HUGE!

Stretching 16 feet across and with a towering peak of 11 feet, you can see why such a dominant feature made nailing the perfect colour the most important step in planning. But, hey, it’s always about “the perfect colour”.

Remember, I’ll always be happy to mix tints as often as it’s needed to make sure it’s a colour you’ll love living with well into the future.

Back to the massive fireplace: When you take a built-in entertainment centre/room feature and want to turn it into something bold and grand, while still adding value to your home, natural lime-based Venetian plaster is definitely the way to go. Remember that, it’s not just a cosmetic change — it’s adding value with beauty.

But, here, take a look for yourself.

“After”:

“Before”:

Here’s the soon-to-be Tadelakt fireplace. Mean, green… and wow! Could be a show-stopper if it’s finished right… but that’s why they hired me, because my company only does it “right”.

Our first step was building up the mantle for added size and drama, by using a 16-foot piece of 2×6 and some crown moulding. Et voila! There’s some beautiful architectural detail.

After finished beefing-up the mantle and the build was done, it was
time to figure out the posts for the bulk of the Tadelakt fireplace
application. This transformation really took it to the next level of
super-cool, don’t you think?

Look closely. Do you see both the bulk and pure “flow” those legs added? We felt it gave exactly the character needed to make this fireplace a feature to envy in an already-upscale neighbourhood.

Next came the real treat — doing the actual Tadelakt lime-plaster application. That’s when I get to feel like we’re putting icing on a cake. This, though, was a tricky cake.

You know me, I love a challenge. Personally, this profile was like nothing I had ever Venetian-plastered before. The detail, curves, and
difficulty reminded me of a lonely country road on a winter’s morning — a great pleasure to be on, but taking it slowly and carefully would
be essential, while knowing that patience would be rewarded with beauty.

Do you see how I used an orange mesh for tying the pieces together? This step is a massive pain, and really not a fun part of the project, but when it comes to a curved profile and the added degree of artistic difficulty that comes with it, that grief is worth the effort just for the extra years of architectural integrity it gives the project. It’s like your mom always told you, “Anything worth doing is worth doing right.” That’s how I operate, too.



Now the project is complete and the space has taken on a whole new look. It’s no longer a built-in piece of drywall, but a long-lasting element for the room, and a focus of the home that can be built upon for years. This fireplace will surely remain a strong selling point for as long as the home stands, because we built it to last.

I’m glad you popped in for a look at my recent work. Thanks for reading!

Cheers,
Darrell.

Here’s a teaser video of my current project — some of the Venetian plaster we’ve completed so far in this home, using distressed red & orange Intonachino, with a raw umber glaze that I finished off with a highly-polished wax.

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.

On June 1st, I begin a great project — a 10,000 square-foot (Venetian) lime plaster interior. This project calls for a smoother finish with minimal texture, a “Tuscan” influence.

To get that look, I’ll be using Stucco Italiano Intonachino.

For an accent in the basement level, I’ll be creating a woodgrain finish (also known as faux bois) for all the crown moulding.

This home has a view to die for and architecture I’m excited to be taking to another level with my finishing techniques. I’m scheduled to reach final completion in early August.

With a Tuscan/Mediterranean feel throughout this home, getting the perfect colour so a client can be comfortable with their final decision is a tough task, but it’s got to be perfect — just look at the stunning architecture! Anything less than perfect would be a crime.

You might wonder how a “young” guy like me in this industry is landing big projects like these large interior Venetian plaster jobs, but I think my work speaks for itself — and it should, anyone’s should. I love the work I do, I do it the best way I can, I use the best materials that are available to me, try to deliver the best customer service, and have finished work that blows expectations away.

Whether it’s in my work’s detail or in the way I work for my clients, I know it’s the little things that make the difference. My guys and I are tidy and clean, flexible, and we all know how to work well with other trades.


Isn’t that how it should be?

Enjoy the read and the photos.

Cheers

Darrell Morrison

The last few months, I’ve been working on a Tuscan lime plaster interior in a beautiful custom home tucked away in Burnaby.

 

I’ve gotta say, the architecture blows me away. It’s my first plaster project in the area, and the home definitely ranks in the top 5 fave homes I’ve worked on. With curved walls, dominant archways, stunning distressed-wood doors, what didn’t I love?

I was brought in to install a 4,000 square-foot Venetian Plaster effect. I’m nearing the 70% completion mark. Things will move along really quickly in the next few weeks, though.

 

Here’s a breakdown of what’s going on.

 

The materials of choice this time are Stucco Italiano and Intonachino lime plaster.

I choose to seal my Venetian plaster projects with penetrating sealer. This helps to repel moisture and oil. If you’re getting a great finish, shouldn’t it be protected for you to enjoy for decades? Yeah, I think so too.

 

Once the sealer dries, I’ll go over it with golden heavy-bodied glaze tinted to a light raw umber.

 

If I don’t do this overglazing step, the Tuscan plaster style looks too new and fresh — like the photo on the top left shows.

While I believe in sealing all my plaster, it’s really necessary if glazing Tuscan lime plaster. Why? It’s thirsty like you wouldn’t believe. If it’s not sealed before glazing, a catastrophe can happen. The raw umber glaze would stain the surface beyond repair — blotchy and horrible. The wall would need redoing from start to finish, and who wants that? I’ll get it right the first time.

 

This is also where being super-prepared before getting started means everything. If that glaze hits an unsealed wall next to the project, it could be a domino effect of colour catastrophes, so care always needs to be taken.

 

Check out these snapshots of some of last week’s great work. Catch you next time.


Contact

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

Name
Email
Message

Thank you! Message sent.
Error! Please re-check that all fields are complete.
©Copyright 2019 Decorative Paint & Plaster Concepts Inc.