Ceilings, cornice and joinery through a period dining room, worked around the original leadlight.
A record of
what was actually done.
Forty recent projects across Melbourne’s inner east. Some photographed on handover day, some mid-job with the preparation still in shot.
Project gallery
Full-height walls and a rendered column in a flat low-sheen finish, sprayed rather than rolled.
Full exterior repaint to a red-brick Edwardian. Fretwork, verandah posts and joinery cut by hand.
Ceiling, bulkheads and surrounds around a curved island, cut to the joinery line.
Steel framing, brickwork and soffits — a coating system chosen for weather exposure rather than looks.
Ceilings and painted surfaces in a full-stone bathroom, moisture-rated and cut hard against stone.
Walls, ceiling and box-bay joinery, with the leadlight masked and protected throughout.
Ochre mineral limewash along an entry hall and around a rendered arch, applied in three passes.
Panelled wainscoting, balustrade and stairwell ceiling — the access-heavy work that usually gets skipped.
Sage-green wainscoting and trim, sprayed then cut by hand at every junction with the wall above.
Rendered side elevation, boundary fence and outbuilding, completed after the landscaping went in.
Ceiling and wall surfaces in a moisture-rated finish, cut hard against tile and timber joinery.
A full apartment repaint programmed around building access hours and lift bookings.
Full repaint through an open living area, sequenced so the room stayed usable across the job.
Arch, architraves and the original front door. Tiles masked and the door taken back before recoating.
Walls and ceiling in a flat low-sheen white, with skirting and architraves in a contrasting sheen.
Balustrade, stringer and stairwell walls. Every spindle cut by hand around the runner.
Ceiling and bulkheads around a long island, cut to the joinery with no shadow line to hide the edge.
Side elevation, eaves and boundary fence — the elevation nobody photographs and every inspection finds.
Walls, ceiling and built-in robe fronts, with the robe doors sprayed rather than brushed.
A straightforward bedroom repaint — the kind of room where a clean cut line is the whole job.
Wall panelling and a period door in a soft grey, sprayed and hand-cut at the panel mouldings.
Photographed mid-job: ceiling and walls finished ahead of the benchtop going in.
Worked around an original arched leadlight, masked and protected for the length of the job.
Wainscoting and sash windows, finished before the room was furnished — the best time to photograph paintwork.
Arch reveal and adjoining joinery, with the curve set out and sanded before any colour went on.
A raked ceiling over an open plan — the longest uninterrupted surface in the house, and the least forgiving.
Original mantel and surround brought back, with the leadlight window reveal cut by hand.
Arched doorway, ceiling and bulkheads around stone and dark joinery.
Reveal, sill and surround around original leadlight. Slow work, and the reason the glass survives.
Walls and ceiling behind full-height drapes, where the finish is seen in raking light all day.
Ceiling and surrounds in a dark scheme, where every imperfection reads twice as hard.
A quiet palette across walls, ceiling and trim, with the trim held a half-sheen above the wall.
Dark joinery surrounds and ceiling, cut against marble and glass shelving.
Pale walls set against dark built-in joinery — the junction where a wandering line would show most.
A built-in study nook, with surrounds sprayed before the joinery was fixed.
Bedroom and ensuite finished as one, so the white reads the same through the doorway.
A rendered column in the middle of a bedroom — curved, and finished to read as a single surface.
Ceiling and painted surfaces in a stone bathroom, specified for humidity rather than looks.
A warm neutral through walls, ceiling and trim, with the trim a shade off the wall rather than white.
A note on photographs
Our own photographs,
not a stock library.
Every image on this site is a job we did, shot on site, in the light the room actually gets.
Some were taken on handover day and some mid-job, with drop sheets down and tins still on the verandah. We would rather show you that than a styled set you will never recognise when we turn up. If a project is not shown at all, it is usually because the client asked us not to — which we take as seriously as the painting.
Next step
Tell us about the house.
Send a few photos and what you have in mind. We come back within one business day with an honest read on the work, the timing and the range it sits in.