Anaglyptic
Raised relief worked into the clay, echoing embossed Victorian wallcoverings. The pattern reads through shadow and raking light rather than colour.
Arakabe
A Japanese-influenced coat with chopped straw left visible in the surface, giving a matt, fibrous field that reads warm and quiet.
Clay on Brick
Clay skimmed thinly over brickwork so the bond pattern and mortar joints stay legible beneath a soft, even mineral surface.
Coarse Rustic
Large aggregate left proud in an open, granular surface. Grit and shadow at close range, a calm even tone across a room.
Corduroy
Fine parallel ridges run the height of the wall, catching light in narrow lines and reading as stripe without any colour change.
Corrugated
Deeper, regular waves pressed into the clay. A stronger rhythm than corduroy, with real shadow depth over long wall runs.
Fluted
Rounded vertical channels formed in a thicker clay build, giving classical fluting in a matt mineral surface rather than joinery.
Gold Fleck
Fine metallic flecks suspended through the clay body. Restrained in flat daylight, they lift only where light strikes at an angle.
Hand Carved
Relief carved into the plaster by hand while it is still workable. Each panel is drawn for the project and never repeats exactly.
Heavy Skip
Heavily skipped trowel work leaves raised islands over a flatter ground: coarse, irregular texture with strong directional shadow.
Moonscape
A cratered field of shallow hollows and ridges. Dramatic under grazing light, close to flat when the room is lit diffusely.
Ombre Colour
A gradual shift from one clay colour into another across a wall, blended while wet so no join or banding is visible.
Ombre Texture
One colour throughout, with texture graded from smooth to coarse across the wall so the change reads only in shadow.
Pitted
Small irregular pocks opened across an otherwise even surface, a quiet texture that adds depth without breaking the wall plane.
Pressed Linen
The weave of linen pressed into fresh clay, leaving a fine woven grain that softens light across large flat areas.
Pressed Timber
Sawn timber grain and board edges pressed into the clay, holding the memory of shuttering in a mineral surface.
Raked
Combed lines drawn through the surface while soft. Direction, spacing and depth are set for the wall rather than standardised.
Tamped Earth
Compacted layered courses that recall rammed earth, with faint horizontal lifts and a dry, matt, mineral face.
Thatched
Long directional strokes laid in overlapping passes to suggest thatch. Texture is strongest where each pass meets the next.
Travertine Effect
Open voids and soft banding worked into the clay to read as cut travertine, warm and matt, without the weight of stone.
Undulating
Gentle swells and hollows built into the plaster so the wall plane moves slowly, most visible in low, raking light.
Sample it, then specify it
We will make as many trial panels as it takes to arrive at the surface you want, on the substrate you are building on. Send the finishes schedule, or come to the showroom in Riyadh and put a hand on the range.