A new door that doesn't match old trim
A replacement door or closet door stands out as plain paint against stained oak or chestnut trim, and wood graining can tie it back into the room.
A replacement door that doesn't match the oak trim, a dining room that feels plain or a mantel that needs character are all problems a skilled faux finish can solve without new millwork.

$7.15 to $20.35Typical per sq ft in Quincy. The walk-through sets your number.
Brands we work with: Benjamin Moore, Sherwin-Williams, California Paints, Farrow & Ball, PPG, Fine Paints of Europe, Cabot, Zinsser, York Wallcoverings, Thibaut, Schumacher, Phillip Jeffries, Graham & Brown, Roman.
Faux and decorative finishes in Quincy include glazing, strie dragging, wood graining, marbling and color washing, built by hand over a sealed base coat with tinted glazes and specialty brushes, then protected with a clear topcoat. Typical ranges run about $7.15 to $20.35 per square foot, or more for fine graining on doors, and the walk-through sets the real number.
Decorative painting was common in the houses Quincy and its neighbors were built with. Victorian owners grained pine doors to look like oak or mahogany, marbled mantels and baseboards, and glazed walls in hallways and parlors. Many of those finishes have been painted over, and new parts added in later renovations often don't match the old woodwork around them.
Our painters do this work by hand, with brushes, combs, rags and tinted glazes. A good faux finish starts with a careful base coat, uses glazes slow enough to work, and builds the effect in layers. We test on sample boards first, so you can see the finish in your room's light before it goes on the wall or woodwork.

Glazing starts with a sound, smooth wall painted in a satin or eggshell base coat, which lets the glaze move instead of soaking in. We mix a translucent glaze with tinted paint and roll or brush it on in manageable sections, then work it with rags, sponges or a softening brush to break up the color. The base shows through in places, giving the wall a soft, layered look.
Strie is a more controlled glaze. After the glaze goes on, we drag a long, stiff strie brush straight down the wall in one continuous pass, leaving fine vertical lines that look like linen or silk. It needs two painters on taller walls: one rolling glaze ahead, one dragging behind before it sets.
Wood graining imitates the figure of real wood in paint. It suits a replacement door that has to match original oak or mahogany trim, a radiator cover beside stained woodwork, or a steel door that should look like wood. We start with a base coat matching the lightest tone of the target wood, then apply a darker glaze and work it with graining combs, a rubber rocker for heart grain, and fine brushes for pores and ticks.
A softening brush blends the grain so it doesn't look stamped. Once dry, a second glaze layer can add depth, and the finish gets a clear varnish to match the sheen of nearby woodwork. Good graining is slow, and we always compare it against the real wood in the room.
Glaze layers are thin, and without protection they can scuff or water spot. On walls in low-traffic rooms, a well-cured glaze over a quality base coat is often durable enough. In halls, kitchens and on doors and trim, we add a clear water-based or oil-based topcoat in a sheen chosen to match the surroundings.
Prep matters too. Faux work shows every flaw underneath, so cracks are filled, dents are spot skimmed and woodwork is sanded and primed first. In older Quincy, Milton and Dedham houses, much of that trim and many of those doors carry pre-1978 paint, so sanding is done with lead-safe containment, misting and HEPA cleanup before any decorative layer starts.
We look at the surfaces, nearby woodwork and the room's light, and talk through which technique fits, from soft glazing to fine wood graining.
We paint sample boards in your colors and chosen technique, so you can see them in your room and approve one before work starts.
The room is protected, surfaces are repaired and sanded, lead-safe practices are used on old painted trim, and everything is primed.
A satin or eggshell base coat goes on and dries fully, giving the glaze a smooth, even surface that lets it move and blend.
Glazes are applied and worked with rags, strie brushes, graining combs or feathers, building the effect in one or more layers.
A protective topcoat goes on where wear or moisture is expected, and we walk the room with you in daylight and evening light.
This typical range covers prep, base coat, glaze work and topcoat on walls, with simple color washing at the lower end and strie or multi-layer finishes at the upper end. Wood graining on doors and trim is priced per piece. It's a planning figure, and the walk-through sets the real number.
Compare every service side by side in our painting and wallpaper cost guide, or call (617) 576-8235 to set a walk-through.
A replacement door or closet door stands out as plain paint against stained oak or chestnut trim, and wood graining can tie it back into the room.
Walls in a formal room feel flat, and a glaze, strie or color wash would add depth without the commitment of wallpaper.
A mantel, column or baseboard was once marbled or grained, and you'd like a decorative finish that suits the period of the house.
A commercial space wants an aged plaster, leather or metallic look that's durable, cleanable and distinct from standard paint.
Metal entry or unit doors in a converted building look cold and industrial, and graining can give them a wood look that suits the hallway.
Original or past decorative finishes are worn, chipped or water stained, and you'd like them restored or redone in a matching technique.
Decorative painting was everyday work in nineteenth century Massachusetts. In Victorians on Wollaston Hill and around Merrymount, it's common to find pine doors once grained to look like oak, slate mantels painted to look like marble, and stair halls glazed in warm tones. Older Federal and Greek Revival houses in Milton and around Dedham Square sometimes have grained doors and baseboards in their back rooms. Many of these finishes survive under later coats of paint.
Renovation creates the most demand we see. A homeowner in Braintree replaces a damaged door and the new one doesn't match the chestnut trim. A Needham owner opens up a kitchen and needs new trim to blend with old. Graining a new piece to match is often cheaper than finding antique millwork. Restaurants and shops along Hancock Street in Quincy Center also ask for aged plaster and leather looks that read as hand-done.
Quincy neighborhoods and nearby towns we cover most often, with ZIP codes:
Yes. Wood graining can match a painted or primed door to oak, chestnut, mahogany or other woodwork. We base coat in the wood's lightest tone, then build grain with glazes, combs and brushes, and compare it with the real trim as we work. A clear coat matches the sheen. It's often more practical than finding a matching antique door.
The heavy sponge-painted walls of past decades have faded, but restrained decorative finishes are still widely used: soft glazes, strie, graining and limewash looks. In older houses, period-appropriate graining and marbling suit the architecture. We'd suggest a sample board in your room to judge it in real light before deciding.
A glaze over a quality satin or eggshell base is durable in most rooms once it's cured. In high-traffic halls, kitchens and children's rooms, we add a clear topcoat to resist scuffs and wiping. Touch-ups on faux finishes are harder than on flat paint, so protecting busy areas is worth it.
Often. We clean the surface, check how much of the original finish survives, and touch up or rebuild the missing areas using a matching technique. If the old finish is mostly gone, we can redo it in the same style. In pre-1978 houses, any sanding of old paint uses lead-safe containment and HEPA cleanup.
Strie is a decorative finish where a tinted glaze is rolled over a base coat, then dragged top to bottom with a long, stiff brush, leaving fine vertical lines that look like linen or silk. It suits dining rooms, studies and halls, and it's best on smooth walls, since bumps interrupt the lines.
A typical room takes two to four days: prep and base coat on the first day or two, then glaze work and any topcoat. Strie and graining take longer than rag glazing. Dry times can stretch in humid South Shore summers, so we plan the schedule with the weather in mind.
Flat paint can look thin in a room with tall ceilings and old plaster, and many owners want walls with real depth, soft movement in the color and a.
How we do itBaseboards scuffed gray, door edges worn to bare wood, and window casings with drips from five past owners: trim is where an older Quincy house shows.
How we do itA Victorian on Wollaston Hill or a Federal-era house near Adams Street carries generations of paint, original wood you can't buy off the shelf, and a.
How we do itWalls that crack again a month after painting, flat paint that scuffs when you wipe it, and old oil layers that peel off in sheets: most Quincy.
How we do itOur phone is answered around the clock. Tell us about the rooms or the house and we will set a walk-through and a written estimate.