Colored polyurethane molding: ready-made solutions and painting techniques

White molding is a classic, tested by centuries. But what if you need something more? What if the interior demands color, character, individuality?Colored polyurethane moldingopens endless possibilities for creativity. From delicate pastel shades to dramatic contrasts, from noble patina to shining gilding — color transforms architectural decor into a work of art that sets the mood for the entire space.

Colored molding doesn't just decorate. It accentuates, zones, creates depth, emphasizes style. Light gray cornices on white walls add graphic quality to a modern interior. Gilded rosettes in a turquoise living room create a boudoir atmosphere. Patinated ivory-colored moldings with dark recesses give intimacy to a classic bedroom. There are as many possibilities as imagination allows. But how to choose a color? What painting techniques exist? Can you paint it yourself or is it better to trust professionals? This article is a complete guide to colored molding: from choosing ready-made solutions to master classes on complex decorative techniques.

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Factory-colored molding: when the manufacturer has already done everything

The first question that arises when planning colored decor: buy ready-painted molding or paint white molding yourself? Both options have a right to exist, let's consider factory solutions.

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What manufacturers offer

Most polyurethane molding manufacturers supply products in basic configuration — white, primed, ready for final painting. This is a universal solution, allowing the buyer to choose any shade for their interior. However, some manufacturers offer a factory painting service — you order molding already in the desired color, it arrives ready for installation.

Standard colors. Usually this is a palette of 10-20 popular shades: various shades of white (milky, ivory, arctic white), beige and cream tones, grays (from light gray to graphite), black (rare, but in demand in modern interiors), pastel tones (mint, peach, lavender — for children's rooms and bedrooms).

Custom tinting. If a specific shade is needed, the manufacturer will tint the paint according to RAL or NCS palettes. You specify the color code, the factory paints the molding exactly in that shade. The service usually increases the cost by 20-40%, but saves your time and guarantees even coverage.

Decorative coatings. Premium manufacturers offer factory patination, gilding, silvering. These are complex multi-layer coatings requiring professional equipment and skills. Factory execution guarantees quality that is difficult to replicate at home.

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Advantages of factory painting

Perfect coating quality. At the factory, paint is applied in controlled conditions (humidity, temperature, no dust) with professional equipment (sprayers, drying chambers). The result — even, smooth coating without drips, runs, or unpainted areas.

Time saving. You don't need to spend weekends painting dozens of linear meters of cornices, moldings, baseboards. The molding arrives ready, you install immediately.

Color uniformity. When painting yourself in batches, there's a risk the shade will differ slightly (paint from different cans, different application conditions). The factory paints the entire batch at once with one paint — the color is identical on all elements.

Professional decorative techniques. Patination, gilding, multi-color coatings — this is an art requiring experience. Factory execution guarantees results at the level of decorative finishing professionals.

Disadvantages and limitations

Price. Factory painting increases the cost of molding by 20-50% depending on complexity. Simple single-color painting — plus 20-30%, decorative (patina, gilding) — plus 40-70%.

Timing. If white molding is usually in stock, painted molding is made to order. Production time 2-4 weeks, which may not fit the renovation schedule.

Limited palette. Even with custom tinting there are limitations. Impossible to do gradients, multi-color effects, perfect matching to wallpaper or curtain colors (they may slightly differ from the RAL sample).

Installation problems. During installation, joints are puttied, corners are trimmed. After this, white or gray areas appear (putty, cuts) that need touch-up. Matching the exact shade for touch-up is harder than if painting all the molding yourself after installation.

When to choose factory painting

Factory painting is optimal in several cases. If you have a large project (entire house, commercial space) where dozens or hundreds of linear meters of molding are needed — painting yourself is unrealistic, the factory will handle it faster and better. If complex decorative coatings are needed (patina, gilding) that require professional skills. If you're not willing to spend time painting, value ready-made solutions, ready to pay extra for convenience. If a standard popular color is needed (white, cream, gray) that doesn't require perfect matching to other interior elements.

DIY painting: a palette of possibilities in your hands

Most buyers choose white molding andpaint polyurethane moldingthemselves. This provides full control over the color, allows for an exact match to the interior palette, and ensures perfect coating quality after installation (when all joints have been puttied).

Choosing paint: what to look for

Polyurethane is a flexible, smooth, low-absorbency material. Not every paint adheres well to it. The optimal choice is water-based acrylic paints. They have good adhesion to polymers, are elastic (do not crack with thermal expansion), have no strong odor, dry quickly (2-4 hours), and are easily washed with soap and water after drying.

Types of acrylic paints. Interior acrylic paints are a universal choice for indoor molding. They come in matte, semi-matte, and glossy finishes. For molding, matte or semi-matte are preferable—they hide minor surface imperfections, do not create glare, and look noble. Glossy paints are rarely used, only for special effects (imitating varnish, modern glamorous interiors).

Acrylic enamels are more durable and wear-resistant than regular acrylic paints. They have a slightly glossy or semi-gloss surface, are resistant to washing and abrasion. Suitable for molding in high-traffic areas (hallways, kitchens, children's rooms). 30-50% more expensive than regular interior paints.

Facade acrylic paints are for outdoor molding. They have increased weather resistance (do not fade in the sun, do not crack from frost, do not wash away in rain), contain UV filters, antiseptics (protection against mold). 1.5-2 times more expensive than interior paints, but there is no alternative for facades.

Popular brands. For interior molding, Dulux, Tikkurila, Caparol, Benjamin Moore (premium segment with rich palette and excellent coverage), Tex, Lakra, Optimist (Russian mid-range brands—acceptable quality, affordable price) are well-suited. For facade molding—Ceresit, Alpina, Dufa (specialized facade lines with a 5-10 year warranty).

Tinting: how to get the desired shade

Acrylic paints are sold in two formats: ready-made colors (cans with a specific shade) and tinting base (white paint to which pigments are added).

Ready-made colors. Convenient if you need a standard shade from the manufacturer's palette. Buy, open, paint. Disadvantage—limited selection (usually 50-100 shades), inability to precisely match the color of walls, wallpaper, textiles.

In-store tinting. Most construction hypermarkets and specialized paint stores have tinting machines. You choose a shade from a catalog (thousands of options from RAL, NCS, Pantone palettes, manufacturers' own palettes), the machine automatically adds the required amount of pigments to the base paint, and mixes it. You get an exact shade, reproducible at any time (the shade code is saved in the store's database).

Manual tinting. If the volume is small or a unique shade is needed, you can tint the paint yourself. Buy a white base and universal tinting pastes (sold in hardware stores in 20-100 ml tubes). Add paste drop by drop, mix thoroughly, check the color on a sample. The difficulty is that it is almost impossible to reproduce exactly the same shade when buying the next can. Therefore, tint the entire volume of paint needed for the project at once.

Tools for painting: brushes, rollers, sprayers

Brushes. Indispensable for relief molding with deep ornamentation. The brush penetrates into recesses, paints every curl, every petal. For molding, choose brushes with synthetic bristles of medium stiffness (too soft won't handle thick paint, too stiff will leave marks). Brush width depends on the element: for narrow moldings 30-50 mm, for wide cornices 50-80 mm, for large rosettes and overlays 20-30 mm (thin for detailed work).

Rollers. Suitable for molding with shallow relief or smooth areas (e.g., the back side of wide cornices). The roller applies paint quickly and evenly but does not paint deep recesses. Use rollers with short nap (4-6 mm) for smooth surfaces, with medium nap (8-12 mm) for slightly relief surfaces.

Sprayers (paint sprayers). Ideal for painting a large volume of molding before installation. The paint applies in a thin, even layer, painting even the most hard-to-reach recesses. But skill is required (easy to cause drips, uneven coverage), protective gear (respirator, goggles, gloves), an isolated room or outdoors (spraying creates a paint cloud that settles on everything around).

Sponges and applicators. Used for decorative techniques—patination, creating textures, applying a second color. The sponge absorbs paint, allowing it to be applied with soft dabbing motions, creating a non-uniform, picturesque effect.

Painting technology: step-by-step process

Step 1: Surface preparation. Factory molding is usually primed, but before painting, check for cleanliness. If there is dust, stains, grease contamination—wipe with a damp cloth, let dry. If the molding is already installed, fill the joints with acrylic putty, after drying sand with fine sandpaper (grit 180-240), remove dust. If the putty area is extensive, prime these areas with acrylic primer for better paint adhesion.

Step 2: First coat. Dip the brush into the paint one-third of the bristle length, wipe off excess on the edge of the can. Apply paint with smooth strokes along the element, thoroughly painting recesses. Do not overload the brush—better two thin coats than one thick one with drips. The first coat is usually uneven, the primer shows through—this is normal. Let dry 2-4 hours (time depends on paint, temperature, humidity).

Step 3: Second coat. After the first coat is completely dry, apply the second. It should be just as thin. The second coat evens out the color, covers gaps. After the second coat, the coverage usually becomes dense and even. If the paint is not sufficiently opaque (light paint over a dark base, bright saturated colors)—a third coat may be required.

Step 4: Final protection (optional). For molding in high-traffic areas (kitchens, children's rooms, hallways), a final protective varnish can be applied. Use a water-based acrylic matte or semi-matte varnish. It will create additional protection against dirt, moisture, abrasion, and make maintenance easier. The varnish is applied in a thin coat with a brush or roller after the paint is completely dry (24 hours).

Contrast combinations: when molding contrasts with walls

Colored molding can be tone-on-tone with the walls (camouflage approach, where the decor blends with the background, creating a play of shadows and relief) or contrasting (the decor stands out, becomes an accent). Contrast combinations are a bold, expressive solution that requires a subtle sense of color.

Classic contrasts: time-tested

White on dark. White molding on dark walls (graphite, blue, burgundy, black)—a dramatic contrast creating graphic quality and clarity. Each molding element reads as a white stroke on a dark background. This technique is characteristic of English and Scandinavian interiors. Use for studies, libraries, bedrooms, living rooms in classic or contemporary style.

Dark on light. The reverse contrast—dark molding (gray, black, dark brown) on light walls (white, cream, light gray). Creates modern severity, minimalist graphics.Decorating polyurethane moldingDark tones are popular in Scandinavian, industrial, and contemporary interiors. Dark moldings that create geometric panels on white walls look especially effective.

Colored on neutral. Colored molding (turquoise, mint, peach, lavender) on neutral walls (white, beige, gray). The molding becomes a color accent, sets the mood, and creates individuality. Use in children's rooms, bedrooms, living rooms where softness, romance, and playfulness are desired.

Monochromatic gradations: playing with shades of one color

A more subtle approach is molding and walls in the same color but different shades. For example, walls are light gray (RAL 7047), molding is dark gray (RAL 7043). Or walls are cream (RAL 1015), molding is ivory (RAL 1014). The difference is barely noticeable but creates depth, volume, and sophistication.

This technique requires precise shade selection. The difference should be sufficient for the molding to be readable but not so strong that it looks like contrast. Usually, a difference of 1-2 steps on the lightness scale in RAL or NCS palettes. Monochromatic gradations are characteristic of modern neoclassicism, Scandinavian minimalism, and Japanese minimalism.

Tonal blending: invisible molding

The opposite approach is molding exactly the color of the walls. It does not stand out by color, visible only due to relief, play of light and shadow. This technique creates calmness, subtlety, and unobtrusiveness. The molding is present, enriches the space, but does not shout about itself.

Tonal blending is used in minimalist interiors where restraint is important, or in small spaces where contrasting molding visually fragments the space. For effectiveness, use molding with expressive relief—deep carved cornices, large rosettes, relief moldings.

How to choose contrast for the interior style

Classical styles (Baroque, Empire, Classicism). Traditionally white molding on colored walls or gilded on light ones. Avoid sharp contrasts (black-white)—they are alien to classicism. Soft combinations are preferable: white on pastel (blue, pink, pistachio), cream on beige, gold on burgundy.

Modern styles (minimalism, contemporary, Scandinavian). Any contrasts are acceptable, including sharp ones. White on dark, dark on white, monochromatic gradations. Avoid garish colors—modernity loves restraint.

Eclecticism, fusion, boho. Freedom here. Colored molding can be any—bright, unusual, unexpected. Turquoise cornices on orange walls, purple moldings on a yellow background. The main thing is a sense of proportion to avoid sliding into kitsch.

Tinted molding: patina, gilding, silvering, and other effects

Solid color painting is just the basic level. The real magic begins when decorative techniques are used that give the molding depth, volume, and history.

Patina: The nobility of time

Patina is artificial aging, an imitation of the patina of time. A darker paint (brown, gray, black) is applied into the recesses of the carving, which emphasizes the relief, creating the effect that the molding has existed for decades, with dust accumulated in the recesses and shadows appearing.

Classical patination technique. Base layer—light (white, cream, ivory). After drying, patina is applied—diluted dark paint (brown, umber, sienna) or a special patinating compound. Patina is applied generously with a brush to fill all recesses. After 5-10 minutes, while the patina is not dry, excess is removed with a damp cloth or sponge from the protruding parts. It remains only in the recesses. The result is light molding with dark accents in the carving, creating volume and depth.

Patina color options. Brown patina—classic, imitates natural darkening over time. Universal, suits any style. Gray patina—modern interpretation, creates a cold, urban effect. Suitable for lofts, industrial interiors. Black patina—dramatic, contrasting. Used when maximum expressiveness of relief is needed. Colored patina (blue, green, burgundy)—avant-garde, for bold eclectic interiors.

Multi-layer patina. Advanced technique—applying several layers of patina in different shades. For example, first brown (deep recesses), then gray (medium recesses), then white or gold (light strokes on protrusions). Multi-dimensionality, richness, and complexity of perception are created. The technique requires experience, but the result is impressive.

Gilding: the radiance of luxury

Gilded molding is a symbol of luxury, palace interiors, and solemnity. Real gilding (applying gold leaf) is an expensive and labor-intensive technology. For modern interiors, imitations are used—metallic paints and composition leaf (imitation of gold leaf made of brass or aluminum).

Gilding with composition leaf. Composition leaf—thin sheets of metal (brass imitates gold, aluminum imitates silver), glued onto the surface with special adhesive (mixtion). Technique: the molding surface is primed, red or yellow ground is applied (traditional base for gold), adhesive is applied, when the adhesive reaches the right tack (after 15-30 minutes), sheets of composition leaf are laid, pressed with a soft brush, excess is brushed off. After drying, the composition leaf can be coated with protective varnish (to prevent tarnishing) or left uncoated (tarnishes naturally, creating an old gold effect).

Gilding with metallic paints. Simpler and faster than composition leaf. Acrylic paints with metallic pigments are used—gold, bronze, copper in different shades (classic gold, old gold, rose gold, light gold). Applied with a brush in 1-2 coats. The result is less impressive than composition leaf (lacks that deep shine) but sufficient for most interiors. Cost is 10 times lower than composition leaf.

Partial gilding. It is not necessary to gild all the molding. Often only the protruding elements of the carving (leaves, flowers, scrolls) are gilded, while the main surface remains white or colored. Or vice versa—the base is gold, the recesses are patinated dark. This approach creates balance, avoids excessive luxury, and allows gilding to be incorporated into a modern interior.

Silvering: cold nobility

Silvering is an analogue of gilding but using silvery materials (aluminum composition leaf, silver metallic paints). Creates a cold, refined, elegant effect. Silver is less pompous than gold, suitable for modern interiors where gold would look excessive.

The silvering technique is identical to gilding. The difference is only in the material.Painted polyurethane moldingswith silvering are popular in glamorous interiors (Art Deco, Hollywood Regency), in cold color schemes (gray-blue, gray-violet palettes).

Copper and bronze: a warm alternative to gold

Copper and bronze shades are a compromise between gold and silver. Copper gives a warm reddish metallic sheen, bronze—a warm brownish-golden one. These shades are less formal than classic gold, create coziness, homeliness, and are suitable for country, rustic, and Mediterranean interiors.

The technique is similar to gilding and silvering. Copper or bronze imitation gold leaf is used, or metallic paints of corresponding shades.

Combined techniques: gold with patina

The pinnacle of decorative craftsmanship is the combination of several techniques. For example, molding is first gilded, then patinated with dark paint. The result is aged gold with dark accents in the recesses—an effect of palace molding that has survived centuries.

Or the base is painted in a color (turquoise, burgundy), then the protruding elements are gilded, and then everything is patinated. The result is a rich, multi-layered, unique decor that cannot be bought ready-made, only created by hand.

Gradient painting: when color flows

Gradient—a smooth transition from one color to another—is a fashionable technique in modern decorative finishing. On molding, a gradient creates an illusion of volume, movement, and play of light.

Horizontal gradient on cornices

A ceiling cornice is painted with a gradient from one color at the ceiling to another at the wall. For example, white at the ceiling smoothly transitions to gray at the wall. Or cream transitions to peach. The technique requires care: paints are applied in horizontal stripes, and the boundaries are blended with a damp sponge or brush while the paint is still wet.

A horizontal gradient visually raises or lowers the ceiling depending on the colors. Light top, dark bottom—the ceiling appears higher. Dark top, light bottom—lower (rarely used).

Vertical gradient on pilasters and columns

Columns and pilasters are painted with a gradient from dark at the base to light at the capital (simulating natural shading—bottom in shadow, top in light) or vice versa (reverse logic, creating uniqueness). A vertical gradient emphasizes the height of the element, creating slenderness and elongation.

Radial gradient on rosettes

A ceiling rosette is painted with a radial gradient—from one color in the center to another at the edges. For example, white in the center smoothly transitions to gold at the edges. Or gray in the center transitions to turquoise. A radial gradient creates a glowing effect, accentuating the center of the composition (the chandelier).

The technique is complex and requires experience. Paints are applied in concentric circles, and the boundaries are blended with a sponge or airbrush. It's easier to use an airbrush (a spray gun with fine adjustment), which allows creating smooth transitions.

Ombre gradient: a fashionable trend

Ombre is a type of gradient where the transition is more abrupt, stepped, rather than smooth. Molding is painted in stripes from dark to light, with boundaries between stripes slightly blurred but still perceptible. Ombre is a trend of recent years in interior decor, coming from fashion (ombre hair coloring).

On molding, ombre creates modernity, dynamism, and graphic quality. Use it in modern eclectic interiors where experiments are acceptable.

Color protection: how to preserve brightness and purity for years

Colored molding is beautiful when fresh. But over time, paints fade in the sun, collect dust, and lose brightness. How to protect it?

Protection from fading: UV filters and proper paints

The main enemy of colored surfaces is ultraviolet light. Sunlight destroys paint pigments, colors become dull, yellow, and fade. Bright saturated colors (red, blue, purple), dark colors (black, brown), and metallic coatings (gold, silver) suffer especially.

Use paints with UV filters. High-quality acrylic paints contain UV stabilizers that protect pigments from destruction. These are usually premium segment paints (Dulux, Tikkurila, Caparol). Budget paints save on UV filters and fade faster. For molding exposed to direct sunlight (south-facing windows, large panoramic windows), UV protection is critical.

Final coating with UV varnish. Additional protection—applying a final varnish with UV filters. A water-based acrylic matte or semi-matte varnish with UV stabilizers creates a transparent protective layer that reflects ultraviolet light, preventing it from damaging the paint. The varnish is applied in a thin layer with a brush or sprayer after the paint has completely dried.

Window protection. If the molding is in rooms with intense sunlight, consider installing UV-protective films on windows or using curtains, blinds during the daytime. This reduces UV exposure not only on the molding but also on all finishes, furniture, and textiles.

Protection from contamination: dirt-repellent coatings

Molding, especially relief molding, accumulates dust, dirt, grease deposits (in the kitchen), and nicotine residue (if smoking). Regular cleaning is necessary, but the task can be made easier by using protective coatings.

Dirt-repellent varnishes. Modern acrylic varnishes with added Teflon or silicone create a surface to which dirt adheres less. Dust is easier to remove with a dry cloth, and grease stains wash off with water effortlessly. Such varnishes are especially useful for molding in kitchens, hallways, and children's rooms.

Antistatic coatings. Dust is attracted to surfaces by static electricity. Polyurethane is a dielectric and easily accumulates static charge. Antistatic varnishes or sprays reduce static charge, so less dust settles on the molding. Use antistatic agents every 1-3 months—spray on the molding and let dry.

Regular care: simple rules

Dry cleaning. Once a month, go over the molding with a dry soft microfiber cloth or a special duster brush to remove dust. For relief molding, soft brushes or brushes with long bristles that penetrate recesses are convenient.

Wet cleaning. Every 3-6 months, wipe the molding with a slightly damp cloth and a mild detergent (soap solution, dishwashing liquid diluted in water). Do not use aggressive chemicals (solvents, abrasives)—they damage the paint. After wet cleaning, wipe with a dry cloth.

Local touch-up. If the paint has been scratched or worn somewhere, cover that spot with the same paint using a fine brush. Store leftover paint in tightly sealed jars — it retains its properties for years and will be useful for touch-ups.

Frequently Asked Questions about Colored Molding

Can colored molding be repainted a different color?

Yes, polyurethane molding can be repainted multiple times. If the molding was painted a light color and you want a dark one — simply apply the dark paint in 2-3 coats. If it was dark and you need a light color — first apply a covering primer (white or gray), then the light paint. Before repainting, degrease the surface and lightly sand it for better adhesion.

Does colored polyurethane molding fade in the sun?

Yes, like any painted surfaces. The rate of fading depends on the quality of the paint and the intensity of UV radiation. High-quality paints with UV filters retain color for 5-10 years even in direct sunlight. Budget paints fade in 2-3 years. For maximum protection, use premium-class paints and a finishing UV varnish.

What color of molding to choose for a small room?

For small rooms, molding in the color of the walls or 1-2 tones lighter is recommended. This visually enlarges the space without breaking it up. Contrasting molding (dark on light, bright on neutral) in a small room creates a feeling of crampedness and clutter. An exception is minimalist thin moldings of a contrasting color, which create graphic appeal without overloading.

Is it necessary to prime polyurethane molding before painting?

Factory molding is usually supplied primed. If the primer is of good quality (white, even), additional priming is not required; you can paint immediately. If there is no primer (rarely) or it is damaged (scratches, stains), apply an acrylic primer for plastics. After filling the joints, be sure to prime the filled areas before painting.

Can patina be applied to already painted molding?

Yes, patina can be applied at any time. If the molding is already painted in a base color, simply apply the patina using the described technique: diluted dark paint in the recesses, remove excess with a sponge. After the patina dries, you can cover it with a protective varnish to set it.

How much does professional molding painting cost?

Prices depend on complexity and region. Simple single-color painting — 150-300 rubles per linear meter for cornices, 300-600 rubles per rosette. Decorative painting (patina) — 250-500 rubles per meter, 500-1000 rubles per rosette. Gilding with imitation gold leaf — 800-2000 rubles per meter, 1500-4000 rubles per rosette (depending on size and complexity). Gradients, multi-color painting — from 1000 rubles per meter, discussed individually.

Which paints are better: matte or glossy?

For molding, matte or semi-matte paints are preferable. They look noble, hide minor surface defects, and do not produce glare. Glossy paints are rarely used, only for special effects in glamorous or avant-garde interiors. Gloss highlights every imperfection and requires a perfectly smooth surface.

How to avoid drips when painting molding vertically?

Drips occur when there is too much paint on the brush or the paint is too thin. Use thick paint, squeeze excess from the brush, apply thin coats. If the molding is installed vertically (pilasters, door overlays), paint from bottom to top to see and immediately remove any starting drips. Two thin coats are better than one thick one.

Conclusion: Color as a tool for creating atmosphere

Color is not just a shade on a surface. It is the language spoken by an interior. It is the mood you create, the atmosphere in which you live. White molding is universal, but colored molding is individual. It expresses your character, taste, vision of home.

The company STAVROS understands the power of color and offers a full spectrum of solutions for colored molding.STAVROS polyurethane moldingis supplied with high-quality white primer, ready for any type of finishing. You can paint it yourself in any color, create patina, gilding, gradients — the material perfectly accepts acrylic paints, varnishes, decorative compounds.

The density of STAVROS polyurethane, 280-350 kg/m³, ensures the strength and durability of the coating. Paint lasts for years without cracks, peeling, or deformation. The clear, deep relief is ideal for decorative techniques — patina highlights every detail, gilding plays on the protrusions, gradients create volume.

The STAVROS range includes over 500 polyurethane molding items: cornices from laconic to luxurious, wall and panel moldings, rosettes from modest to grand, overlays in thousands of designs, columns and pilasters, facade elements. Everyone will find what their project needs.

STAVROS doesn't just sell molding. We offer a comprehensive solution: consultations on selecting elements and painting techniques, recommendations on materials and tools, educational materials and videos on decorative techniques, delivery throughout Russia, material quality guarantees.

On the STAVROS website, there is a detailed article with professional molding painting techniques, describing all the nuances of working with a brush, roller, sprayer, patination, gilding, creating multi-layer effects. This is an invaluable resource for those who want to do everything themselves at a professional level.

If you prefer to entrust painting to professionals, STAVROS will recommend trusted partners — decorative finishing masters who master all classical and modern techniques, handle any complexity, and guarantee results.

Colored molding is an art accessible to everyone. Don't be afraid to experiment, try, search for your combination. Start with simple single-color painting, then try patina, gilding, gradients. With each project, skill grows, confidence appears, and unique solutions are born.

With STAVROS, your home will gain the color you chose, the atmosphere you created, the individuality that belongs only to you. Welcome to the world of colored molding — a world where architectural decor becomes painting, where every element is a brushstroke of the artist, where your home turns into a work of art.