So I went to the drawing board and this is what I came up with. Now back to the ceiling, this home had that old school west coast style with the cedar ceiling from the exterior spanning all the way into the living room it looked great but the colour was way to orange and this client wanted to go more restoration hardware style. I will be sure to write a blog post about it once the project starts. the cost savings is amazing and leaves room for lots of creativity. The 1st picture is a sample I created for an upcoming project the client loved it so much they have decided to d0 3000 liner ft. Next would be its Eco-friendly no need to replace any existing wood or if your building a new home MDF (medium density fiber board) is a great option as its cheaper to buy then real wood and saves the environment from another tree cut down. So why would you want to use wood graining on your project? Lets start with the creativity, being able to control the colours and style of wood your looking to get is much easier when its created by hand, id say that’s a big asset. Hue by hue, shade by shade, we’ll nail the colour of your dreams. You want it lighter? Darker? I can change that on a dime now, so you get what you want when you want it. ◦ 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.
BENJAMIN MOORE VENEER PLASTER FULL
◦ Whatever your favourite material - Tadelakt, Intonachino, Carrara or Classic - I have full control over the colour and tint of the end-product. Let’s get that done ourselves - between you and me, and save ourselves a lot of headache and reduce wasted materials in the process.
BENJAMIN MOORE VENEER PLASTER PRO
We don’t need a paint-shop pro or a chemist to guess it out. You want a 25% lighter shade? Okay, not a problem. Now, at any point in time, I can change a colour’s direction.
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. 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. 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’ve now taken great care to create 20 different colours for this project.
Like me, they know job satisfaction is all about the details. (How are “shade” and “hue” different? Learn more by following this link.) We’re close, so they now only want slight shifts in shade and/or hue. With so much surface to cover, the client is having a hard time choosing the perfect colour. 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.Īs an example, I’m currently working on a 10,000 square-foot Intonachino lime-plaster interior.
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. 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. When I Say “Any Colour”, I mean It More Than Everįor years, I’ve been creating custom colours. Recently, I finally got the tool I’ve been wanting to add to my company’s arsenal - a 12-colour carousel tinting machine.
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