0800 044 3604
Commercial Painting & Decorating
We focus on office painting & decorating, block property painting & decorating and retail store painting & decorating.
Our valuable expertise as commercial painters and decorators in London, servicing business owners, shops and leisure organizations enable us to grasp that you need to sustain business as usual from start to finish. We can decorate your business property to a predetermined schedule that meets your requirements, no matter if that is through the night, early mornings or on saturdays and sundays.
Our commercial painters and decorators are a highly skilled group of experienced professionals who will provide a fresh look to any workplace.
We take great pride in causing the least disturbance to day to day operations, whilst delivering a high standard of work.
Our office painting and decorating workforce offers you:
We have a night time team of specialist decorators for offices & hotels.
Commercial Painting & Decorating in London
Office painting and decorating in London
We are the most efficient firm for commerical renovation in London and office redecoration in London.
Our highly trained office painting and decorating staff have introduced an excellent track record of renovating office and commercial buildings of every size throughout the Greater London region and the Home Counties.
We offer an option for out of hours work to be undertaken for London commercial redecorating projects, something that is centered around client reassurance providing openness and easier understanding that provides clients with confidence.
If you’re planning on renovating your London commercial premises, go ahead and speak to us to get a no obligation detailed estimate delivered within 48 hours.
Our commercial refurbishment London workforce will leave you as a satisfied customer.
Retail Premises Painting and Decorating in London
Our professional decorators can quickly transform and modernize the look of your shop.
Being able to work out of hours and at weekends, we can be minimally intrusive, whilst delivering and high specification interior design and refurbishment job.
Our retail painters and decorators will help develop:
Block Property Painting and Decorating
Residential block property administrators and estate management companies in London can experience the minimally intrusive and efficient processes we offer with our group of expert block property painters and decorators.
Our block property painters and decorators will deliver:
Years of experience with mansions & period properties
Farringdon st St Louise Dover street UK Olympics Venue
We provide External and Internal commercial Paint and Decorating in London and the Home Counties. This includes projects like the Olympics and full projects on buildings in the heart of London. We also specialise in Period property, Large houses, Public buildings, Warehouses, Offices, Hotels, Schools and Educational facilities.
We’re recognised for our commercial decorating projects which we’ve been carrying out for business customers varying in size from large corporations to relatively modest London businesses. A lot of this is office decoration and renovation.
In addition to keeping our standards extremely high, we make an additional effort to complete the specified job in the most unobtrusive possible way in order to reduce any kind of inconvenience it could potentially cause to the operating of a business enterprise.
We deliver the results both promptly and without mess, a truth that has drawn positive reviews from our previous customers. Coupled with our costs we believe this makes us among the best commercial decorators in London.
We have rapidly become one of London’s leading commercial painting and decorating contractors.
Our skilled and hardworking personnel offer an outstanding service, regardless if your own project is residential, commercial or needs a specialized surface finish.
We carry out both external and internal painting and decorating projects. These include luxury residential homes, sports facilities (we did London 2012 Olympic village work), education facilities, stately homes, hotels, restaurants, clubs, bars, offices and numerous others.
The service that we provide covers London as well as the South East.
Should you require our decorating services in London don’t hesitate to get in contact now for a totally free estimate!
We are able to cost any kind of internal or external commercial decorating job by using tender specifications, drawings, bills of quantities, or site visits.
Key Elements of a Professional Paint Job
As professional decorators we always paint a room in a particular order. We start with the ceiling. The walls are next; then the woodwork around doors and windows; then cornices and skirting board; and finally, the floor. This ensures that paint spattering down from the ceiling does not ruin newly painted walls. Cleaning off any paint that drips onto woodwork immediately is another mark of a professional contract decorator. It is easier to remove when it is still wet.
Before covering the walls in swathes of colour, you need to give some attention to the smaller details to ensure a professional finish. It is very important to create a precise finish around doors, windows and light fittings, as well as ensuring a neat line between ceiling and wall, as these are junctions which you will notice every time you enter or leave the room, or open or shut a window. You need to use a technique called ‘cutting in’. Using a small brush, 2.5—5cm pressed firmly against the wall surface so that the bristles are slightly splayed, we paint a band of paint approx. 2.5cm wide into the internal corners, wall and ceiling angles and above the skirting board.
We make a similar band around doors and windows. You can do this in the same way or use a slightly different technique which ensures a neater finish. We paint a series of small, horizontal strokes at right angles to the door or window frame. We join them together with a steady, firm vertical stroke of the brush, easing the bristles of the brush tight against the wooden frame.
We paint the ceiling using a roller attached to an extension pole. We paint sections in strips, working from one side of the room to the other and back again, so that the direction of application alters with each strip. In order to give solid paint coverage, within each strip we apply the paint as when using a roller on a wall: starting with overlapping criss-crosses and finishing with straight strokes. When painting walls, we paint in strips from the top of the wall to the bottom, starting from the side of the wall closest to any natural light source. Having painted the walls and ceiling, we turn our attention to the precision painting areas: the doors and window frames.
Next item in the sequence is the plasterwork: mouldings such as cornices and ceiling roses.
Because of the porous nature of plaster, mouldings are particularly susceptible to staining caused by damp, mould, mineral salts and nicotine. You must ensure that these have been adequately dealt with, the surface made good and primed before you start repainting.
Mouldings should be painted with small paintbrushes or artist’s brushes, depending on their size and the amount of detail they entail. We start by using a 2.5cm brush to apply the base colour, ensuring that the bristles are gently splayed to create a neat outer edge. When this colour has dried, we pick out some of the detail in a contrasting colour using a smaller artist’s brush. If we are trying to paint a straight line or particularly fine detail, we steady our hand by resting it against something solid.
Before we paint pipes or radiators, we ensure that heating or hot-water appliances have been switched off. We check that the metal fixtures have had time to cool down. We ensure previously painted surfaces are free of dust by washing them down with a solution of household detergent. We key a high-gloss surface by rubbing down the paint with fine wet-and-dry paper. We rinse and ensure it is completely dry before starting to paint.
The longest-lasting finish for metal is created by using a proprietary metal or radiator paint or enamel. On radiators, we use a 5cm brush and apply the paint as thinly as possible, working quickly with long, light strokes. We are very careful to avoid getting paint on or near the valves, as dried paint will cause them to stick. We use a small piece of card to prevent flicking paint onto the wall surface when you paint the edges of the radiator.
Pipes should be painted with the same paint as the radiator with a 2.5cm brush, working vertically from top to bottom.
Maintenance is a key consideration for any commercial property owner.
Although aesthetics are important, how the building performs is of more importance, in that a breakdown in the exterior painting scheme for instance could lead to serious deterioration of the structure itself.
Commercial painting and decorating is a lot more than just creating good-looking walls. It is the first point of defence against the exterior elements in many cases.
Likewise, the interior of the building should be welcoming to clients and visitors and create an atmosphere in keeping with the commercial goals of your company.
A commercial painting contractor such as our company, can give you some good tips on colour selection.
We have seen various schemes work in practice over the many years in servicing our wide range of clients.
There are a few key considerations to bear in mind at the outset of a refurbishment or redecoration project on a commercial building:
Your decorative scheme establishes the look and feel of your brand. No matter what type of commercial property you are dealing with, be it a shopping precinct, hotel, an entertainment complex, or an office, you want the overall look to establish your brand in some way or convey a specific atmosphere.
When somebody steps into your building the first impression should be one that gives them a sense of your company’s or institution’s character.
A pub, for example, is going to have a very different atmosphere than a hospital.
The overall ambience required to make people feel comfortable inside a pub will govern the colour scheme and the balance is in favour of creating a certain ambience rather than functionality which would be the case in a hospital environment.
Pubs usually go for much more earthy tones and health institutions will usually require a very light and open feel to facilitate the high standards of hygiene and the need to have a light shed on whatever operation is being undertaken.
As an experienced painting contractor we can provide our clients with up-to-date advice on colour trends for any type of business.
It is very important from the outset to create the appropriate ambience. For example, a health spa catering to women would be advised to go for light and soothing hues of blue, lavender and purple.
It would probably be a mistake to veer towards red in such an environment as this may create a seedy atmosphere. However, you could use reds, oranges and dark earthy tones in a restaurant.
There are software applications that enable you to get a good idea of how a specific colour scheme would look inside a commercial building.
It is essential to use high quality paints and wallcoverings.
Cheaper paints and wallcoverings can look good for a while, but they may not stand up to the wear and tear that some environments would subject them to.
Industrial units using various chemicals in production processes would require chemical resistant floor paints and wall paint that would not be susceptible to high moisture content.
Commercial kitchens would obviously need to have very high moisture resistant paints.
It is also imperative that the correct paints are used on different surfaces such as plasterboard, metal, timber and concrete.
We will be able to tell you exactly which paints to use throughout your property.
Health considerations are also very important and that is why it is usually the best option to go for low VOC paint and even anti-mould paint that will help ensure a healthy working environment for both your employees and customers.
It is essential to treat whatever surface you are applying paint to with the correct primer.
This is especially so on new surfaces that have never had a coat of paint applied to them before.
Primers not only serve to provide a good foundation for subsequent coats of paint, but they also help in hiding imperfections on the underlying surface.
The final coats of paint will appear much neater and smoother without blistering and will also last a lot longer being on top of the correct substrate.
This is good economic policy in the long term as it says you money via increasing the time between paint jobs.
Primers can also be used to great effect if you are covering over a darker colour with a lighter one.
Primers can be mixed with the new colour to significantly dampen down the effect of the darker underlying coat.
Preparation is Key
Without proper preparation any paint job is likely to be a disaster either in the short term or eventually in the long term.
This is especially true for external surfaces that are subject to the elements and internal surfaces that are in environments of high humidity, high heat, and subject to chemicals.
One of the most basic facets of good paint preparation is just to get the surfaces clean in the first place, free from dust, grease, peeled paint, mould, rust and moisture.
Some surfaces require extensive pressure washing. If there is water damage, peeling paint, or chipping then the surface needs extensive renovation prior to any paint application.
We can do all types of repairs inside and outside your property, these can include re-texturing ceilings, repair or replacement of plasterboard walls, repairing cracks and nail holes.
We will do whatever it takes to get the perfect surface ready for the perfect paints.
We provide professional cleaning services once the contract is completed, leaving your property in a better state than it was before we found it!
We also ensure thorough protection of any office equipment, furniture, carpets and machinery throughout any contract.
When is the Best Time to Paint External Walls?
We will not attempt to undertake a painting contract if the conditions are not suitable.
Depending on local climatic conditions, certain paints can only be applied during a certain temperature range.
Good weather forecasting will help us determine if an external paint job can be undertaken or whether it will have to be broken down into stages.
External painting cannot be undertaken in most circumstances if it is raining, or in the case of needing to use scaffold or cherry pickers, in high winds.
Ultimately, any painting contract must be client centred. You want a minimal level of disruption to your day-to-day business.
We will discuss with you the necessary steps to create the minimum of inconvenience to your employees and customers.
This is why our night painting services so popular. We can also combine flexible scheduling for out of hours or weekends and complete the contract in stages this way.
A bad workman blames his tools but a professional decorator always ensures he has the best equipment at his disposal. The following are what you should see alongside a competant tradesman.
Containers: for paintbrushes, use metal or plastic buckets; for rollers, plastic trays.
Roller cage: can hold a variety of sleeves.
Extension pole: for pads and rollers, when painting high areas such as ceilings.
Radiator roller: small roller on a long handle for reaching into the awkward space behind radiators.
Paint pads: often have hollow handles so they can be used with an extension pole.
Mahl stick: to steady your hand for details.
Stepladder or ladders: to create a painting platform.
For decorative paint effects:
Paint Effects Guide
Transparent, oil-based glaze can be bought ready-coloured, but we tint proprietary oil glaze to match a colour exactly to our clients requirements. To make a basic tinted glaze, we mix 1 part glaze with 3—4 parts white spirit and 25ml white eggshell per 500ml of glaze, using universal stainers to add colour.
A glaze must be applied over non-porous paint, such as eggshell. Depending on the composition, it may take up to two days to dry hard, which gives us plenty of time to correct and rework for a perfect finish. For this reason, glaze is easier to handle than a wash.
When we are preparing our own glaze rather than using a ready-made one, it is essential to mix up enough for the whole project before we start, because it is almost impossible to duplicate a colour exactly later.
Possibly the simplest material to master, a tinted oil glaze applied on a base coat will add a subtle layer of colour, softening it and giving it greater depth.
Walls need to be carefully prepared and then coated with one or two layers of eggshell paint. Sometimes, it is possible to use emulsion and a water-thinned wash as an alternative to glaze. However, the finished effect is seldom as elegant as that produced by an oil-based finish.
You can prolong the life of the effect, whether oil or water-based — by applying a coat of matt varnish when it is thoroughly dry. This is very important if you have painted a heavy-traffic area such as a hallway, or if it is likely to need frequent sponging.
To apply, we paint the glaze onto the wall with a medium-sized decorating brush, covering 1 sq m at a time, using quick, random strokes. We soften brushmarks with a wide, short-bristled brush, and continue until the surface is evened out, and until we have created a thin film of near-transparent colour.
Washes are made from water-based paint. They provide a soft finish but they are less flexible and less easy than glazes to use because they dry quickly.
Washes are best applied over a matt emulsion base. For effects such as rag rolling, the wash needs to comprise 1 part emulsion to 3—5 parts water. For colourwashing, it needs to be thinner: 1 part paint should be mixed with as much as 8 parts water.
Colourwashing imitates the appearance of old-fashioned, distemper-painted walls and, as such, is particularly appropriate today, when natural, texture-rich interiors are popular. Some specialist paint suppliers continue to stock distemper, but it is relatively simple to recreate the same rough, slightly chalky look with thinned emulsion.
Because of the essentially uneven appearance of a colourwashed finish, it is a simple technique to master and looks particularly good on walls with a slightly irregular surface.
Because this is a very wet wash, we ensure that we have covered everything that is not to be painted before we start.
We apply a coat of emulsion to the wall and allow it to dry thoroughly. We create the colourwash by thinning emulsion paint: 1 part paint to 4-8 parts water and then experiment on a small area until we find a mixture that is both easy to work with and which creates the soft gradations of colour required. Using a large decorating brush, we apply the wash in random, bold, criss-cross strokes over an area of approx. 1 sq m. We do not attempt to cover the whole wall at first. We then take a slightly damp paintbrush and go over the wash to soften the brushmarks and wipe up any drips.
Do not worry if the walls look very messy and unattractive at this stage. We leave this coat to dry overnight, or for at least 12 hours, and it improves with the wait.
We repeat the wash technique, again working on 1 sq m at a time. This time we apply criss-cross strokes to the areas we missed the first time. If we are working in a heavy-use or humid area such as a hallway or bathroom, it is possible that the finished effect would benefit from a protective coat of matt polyurethane varnish.
Dry brushing creates a rougher, more intensely dramatic effect than both glazing and colourwashing. First of all we apply a base coat of matt emulsion, and then pour some emulsion in our chosen top-coat colour into a paint tray.
We dip a wide, hard-bristled decorating brush into the paint and scrape off the excess against the tray’s ridges or on a wooden board. Then, with cross-hatching strokes, we apply the top coat. It is very important for this effect — as the name suggests — that you make sure that you keep the brush very dry and that you apply the paint in light strokes using the tip of the brush rather than its flat surface. We allow some of the base colour to show through to evoke a slightly misty effect.
For a greater depth of colour and more intensity, we repeat the process, having first allowed the paint to dry thoroughly over night, or for at least 12 hours anyway. And once again, you may wish to finish the effect with a coat of matt varnish.
If a client is looking for an elegant, softly striped effect which can enhance doors and wood panelling as well as walls, dragging is the technique we use. The background colour shows through the top coat as a series of fine, uneven stripes of colour.
Dragging requires a steady hand and is more tricky than washing or glazing, because of keeping the brushstrokes even along a run of wall. For beginners, it might be a good idea to start on a small area such as the panels of a door. If you are going to use this effect on walls, it is imperative that the surface is smooth and free of bumps.
Either an oil-based glaze or a diluted emulsion top coat can be used for dragging, although the oil-based version looks considerably more grand. Because emulsion dries faster than oil-based paint, it is simpler to start with an oil-based glaze: it gives you more time to work on the finish and even allows you to wipe the whole thing off and start again.
We apply two coats of eggshell paint to the wall and leave them to dry thoroughly. Next, we apply a coat of oil-based glaze, working from top to bottom, and painting an area that is small enough to work on easily: a vertical strip 60cm wide is usually practical.
Before the glaze or paint begins to dry, we quickly drag a long-haired, dry flogger from the top of the wall to the bottom in a long, even stroke. It is important to move on to the next area before the edge dries. We clean excess glaze from the brush with a lint-free rag before starting each stroke.
If we use emulsion, we use a mid-sheen paint as a base and are careful not to add too much water to the wash at once. Once the oil or water-based glaze has dried, we protect the finish with a coat of matt varnish — or, for an even better result, several coats.
Rag rolling is an excellent way of disguising less-than-perfect walls. The more virulent colour combinations of the 1980s have been replaced by more stylish combinations where the colour of the base coat is similar to that of the top coat: try pale pastels over creamy white for a smart effect.
Oil-based paint is more suitable for rag rolling than water-based paint because of the quick drying time of the latter. However, you can use a mid-sheen emulsion if you so wish; the technique is the same.
We paint the surface with two coats of eggshell or mid-sheen emulsion and leave to dry. We prepare the tinted oil- or water-based glaze and dip a lint-free rag or chamois leather into the mixture, ensuring that the cloth is evenly soaked to avoid blotches on the wall. Then we squeeze out and roll it up into a loose sausage. We roll the cloth gently over the wall’s surface in a random motion.
For a gentler effect, you can try rag rolling off. Having painted the dried base coat with a top coat of oil- or water-based glaze, you roll a clean rag across the glaze to expose the colour beneath. For an even softer look, you can go over the surface with a softening brush about half an hour after rolling off.
One of the speediest techniques, sponging on is one of the easiest to master. Again, it looks better if the two colours you choose are similar in tone and intensity. You can achieve a richer look by sponging two different shades over the base coat.
We apply two even coats of eggshell or emulsion. Then we mix the glaze or wash and pour it into a paint tray. We soak a natural sponge in water for the emulsion wash, or in white spirit for an oil-based glaze, then wring it out carefully.
We dip the sponge into the paint and rub off any excess against the ridges of the paint tray. Then we gently dab the sponge on the wall. We wring it out frequently to prevent the paint building up into clumps. If we are using a second colour, we wait until the first coat is thoroughly dry before applying it.
Sponging off- like rag rolling off- creates a slightly more subtle, cloudy effect than its technical counterpart.
We brush a coat of tinted oil glaze with the consistency of thick cream over the dried base coat using a wide decorating brush. Working on 1 sq m at a time to avoid the glaze drying out, we wring out a sponge in white spirit and dab it swiftly on the wet glaze, lifting some away from the surface.
Bagging is adapted from these techniques. Using a small cloth in a scrunched-up plastic bag, we dab the wall in the same way as we did with the sponge to create lively patterns. To prevent blotches of colour, we wipe excess paint from the bag from time to time.
Ideally, sponged and bagged walls which could be easily damaged should be sealed with a protective coat of matt varnish.
A dramatic and relatively simple process to master, spattering is messy, so before we begin, we ensure that the floor is covered with plastic and that we are wearing a mask and eye protection. The effect is cumulative, built up by spattering tiny dots of one or more colours against a base coat; two or even three spattering colours will add to the depth and richness of the effect.
Using a piece of newspaper as our practice wall, we load a large decorating brush with paint or glaze and knock the metal part of it against a stick to flick off excess paint until we achieve the size of dots we want. Then, we hold the brush parallel to the wall and knock it in the same way against a stick or piece of batten. We continue until the wall is covered in a fine spray of dots. Then we stand back to check for any slightly bare patches and go over it again until the coating is even.
If we are using a second colour, we allow the first dots to dry, before repeating the process with a second colour.
This effect is best suited to walls in reasonable condition and needs a base of oil-based, non-porous paint in order for it to ‘take’ evenly. Glazing liquid, eggshell thinned with white spirit or mid-sheen emulsion thinned with water can all be used.
We coat the base colour with a thin film of glaze using a wide decorator’s brush, working on 1 sq m at a time. Using a specialist stippling brush, we jab the bristles against the wall in sharp, rhythmic strokes, creating an elegantly mottled surface. We work swiftly across the area, blending sections together. We take care to avoid sliding the brush across the surface as this will create smears. We wipe the stippling bush periodically with a lint-free cloth to remove excess glaze.
Paper and Fabric
After many years in the decorative wilderness, wallpapers seem to be enjoying something of a revival. The enormous selection of designs available, and the ability of paper to disguise everything from cracked walls to clumsy proportions, make them a great resource for the decorator.
Whether you want to recreate the look of a Palladian villa, a Victorian boudoir or a 1950s diner, you will find that there are papers on the market to make your task easier. And once you have chosen your main paper, you can turn your attention to the many co-ordinating borders and friezes that will create a more finished job. They can be used in combination with wallpaper, by themselves to pep up painted walls, or to create architectural interest where it is lacking. Indeed, such combinations seem to tap into the mood of the moment, for they tend to allow the feeling of an easy layering of pattern and texture to predominate.
There are several basic principles to follow to get maximum mileage from the wallpaper you choose.
Wallpaper is a great ally when you want to play optical tricks with a space. Use it to expand or contract the space in which you are working, or to draw the eye away from ugly but immovable features. Turning to the detail of the matter, dark colours and heavy patterns will generally make a room seem smaller, while pale, loosely patterned ones – and large trellised papers too – will make the room seem larger, and vertical stripes on the walls tend to make low ceilings appear higher.
In general, rooms that are used a lot prefer plainer papers because heavy patterns can be wearing on the eye, and are therefore tiring to live with. They are also more difficult to mix with other furnishings, particularly if you do not have the well-experienced decorator’s touch.
One of the aspects governing the revival of interest in wallpaper is technology. Wallpapers are now easier to hang than ever before, not least because of the ready-pasted varieties, and can be used with ease on a far greater variety of surfaces than they used to be. So, while in the past wallpapering was seen as a daunting prospect for almost all but the most experienced of decorators, nowadays that dubious reputation is beginning to be dispelled as myth. And justifiably so, for with the correct equipment and a methodical approach, wallpapering is a relatively straightforward task to get right — on most of the walls in a home.
At its most basic, wallpapering with plain lining paper is a way of covering less-than-perfect walls in preparation for painting or papering with a decorative paper.
Lining paper can be purchased in several thicknesses, and it is definitely easier to work with the heavier ones because they are less likely to stretch or tear as you work.
Be cautious about using strong patterns as they are harder to measure up for and more difficult to hang; and avoid cheaper papers as they have a tendency to tear.
It is best buy all the wallpaper you need for a job in one go in order to avoid variations in colour, and always buy one more roll than you have calculated as being needed just in case your calculations are slightly inaccurate. And the best tip comes from the professionals: always, always clear up as you go along. Although getting rid of damp scraps of paper and wiping up paste smears as they occur may seem enormously time-consuming, it is this kind of attention to detail that can make all the difference between a shoddy job and one that looks enviably professional.
We also undertake painting contracts for schools, colleges and universities.