Best Paint for Plaster Walls and Ceilings in 2026

Top pick: Benjamin Moore Aura Interior in matte. On modern gypsum plaster, the matte chemistry reads as plaster at a foot, the color holds against humidity, and the 1-hour recoat lets you finish a room in a day. It loses on price ($95+/gal, no sale windows) and on old-lime breathability. If your walls are pre-1940s solid plaster, Romabio BioDomus is the chemistry-first call. SW Emerald in matte is the mid-range answer with stronger scrubbability for kitchen plaster. Behr Marquee is the genuine one-coat budget pick. Farrow & Ball Modern Emulsion is the color-led splurge where the drape on saturated tones earns the premium.

A heads-up. This article is about painting plaster walls and ceilings. If your walls are crumbling, salt-blooming, or you can see daylight through hairline cracks, start with the plaster repair guide or the skim-coat plaster project, then come back. Paint won’t save a substrate that’s actively failing.

And a second heads-up, because half the people who land here are asking a different question. If what you want is plaster on the wall, not paint on plaster — the marble-look Venetian finish, the “plaster you paint on” you saw in a hotel lobby — no gallon in the five picks above will get you there. Skip to Plaster You Paint On for the products, the cost against ordinary paint, and the three ways to do it at home.

Plaster Is Not Drywall

Every plaster-paint mistake I see traces back to one assumption: that plaster behaves like drywall. It doesn’t. A drywall surface is paper-faced gypsum: low porosity, no chemistry of its own, and the paint sits on top as a tight acrylic film. Plaster is three different substrates depending on the age of your house, and one of them actively wants to breathe.

Modern gypsum-veneer plaster (the stuff applied over blueboard in 1990s renovations) is closest to drywall. Aura, Emerald, Marquee, and Modern Emulsion all work over a Gardz prime. Polished Venetian plaster is a decorative finish you usually shouldn’t paint at all. The polish is the show. Old lime plaster, the wall material in most pre-1940s American houses, is a mineral substrate with a chemistry that needs vapor to move through it outward. Seal it under a tight acrylic film and you get peeling at the corners, blistering on south-facing walls, and salt blooms within a season or two.

So the question “what’s the best paint for plaster” actually splits three ways. The rest of this article is which can for which substrate.

How We Picked

Five plaster-appropriate paints, applied to three substrate panels (modern gypsum-veneer plaster, polished Venetian, and friable hand-trowel lime from a 1924 Atlanta bungalow) and tracked over 60 days for read-as-plaster appearance, scrubbability, breathability, color drift, and chalk-bleed-through. Then three plaster restoration contractors and two historic-home painters interviewed. The pick-specific finding lives in each review below.

The Picks at a Glance

Product	Best for	Breathability	Price
BM Aura Matte	Modern plaster, top pick	🟡 Low	$$$$
SW Emerald Matte	Kitchen / family plaster	🟡 Low	$$$
Behr Marquee	One-coat budget	🟡 Low	$$
Romabio BioDomus I	Old lime plaster	🟢 Very high	$$$
F&B Modern Emulsion	Color-led walls	🟡 Low	$$$$

The table is structured by substrate and use case, not by brand prestige. Aura and Emerald compete head-to-head on modern gypsum walls. Marquee is the one-coat budget answer. Romabio sits alone in the breathable column; nothing else here passes the lime-plaster test. Modern Emulsion is the color-depth call where the room is paid to look like a magazine. Read this as “pick the paint that matches your plaster, not the paint that matches your favorite brand.”

The Modern Plaster Pick

Benjamin Moore Aura Interior Matte

Aura in matte is the prettiest finish on modern plaster I’ve tested. Most matte chemistries either go chalky under wipe-down or pop sheen across the high spots of a hand-trowel wall. Aura’s Color Lock formulation does neither. We rolled the gypsum-veneer panel with a 3/8 inch microfiber, two coats, recoat at one hour. At a foot in raking afternoon light, the finish read as plaster. Flat across the trowel marks, no plasticky film over the high spots, no roller stipple. The same panel survived 200 cycles of damp microfiber at week six without a visible burnish track.

The color story is the other reason designers stay loyal. Color Lock holds saturated tones (Hale Navy, Caliente, Wrought Iron) where competing matte fades or chalks inside eighteen months. Coverage is dense; the Gennex base loads heavy. Two coats over a tinted Gardz primer covered Hale Navy on plaster cleanly. On a chalky raw old-plaster wall, expect a third coat. That’s plaster’s suction, not Aura’s coverage.

The downside is the warranty conversation and the price. Aura is mildew-resistant, not mold-and-mildew-proof; in a kitchen plaster wall behind a stove, step up to Emerald or Perma-White. And $95+ per gallon at BM stores with no Sherwin-style discount windows hurts on a four-room repaint. The film is also tight in the breathability sense. Fine on modern gypsum, the wrong call on lime plaster.

Buy it if: modern gypsum plaster walls, room with working ventilation, you want the finish to read as plaster at a foot. Skip it if: old lime substrate, or budget controls the call on a whole-house repaint.

Sherwin-Williams Emerald Interior Acrylic Latex Matte

The smarter-money pick when scrubbability matters more than finish-as-plaster. Emerald matte tested as the most washable matte in the round-up. 200 cycles damp microfiber, no burnish under raking light at week six, same as Aura but at a $30–$40/gal sale-price delta. The stain-blocking topcoat handles greasy handprint zones around plaster switches and at the kitchen plaster reveal. We rolled the gypsum panel two coats, four-hour recoat, and the finished surface cleaned cleanly at month two without ghosting.

The compromise is finish character. Emerald matte reads slightly flatter and less drape-y than Aura on hand-trowel plaster, a small visual delta but a real one. On Venetian, Emerald’s matte plasticizes more than Aura’s; for a polished plaster repaint, Aura wins. On a kitchen wall where the wall takes daily soap-and-grease, Emerald wins. The color deck is narrower than BM’s. SW’s 30–40% off windows arrive often enough that a $90/gal retail effectively runs $55–$65.

Buy it if: modern plaster in a high-traffic kitchen or family room, and you’ll catch an SW sale. Skip it if: formal-room plaster with hand-trowel character you’re trying to preserve.

The Budget Pick

Behr Marquee Interior Paint and Primer

The honest one-coat option. Marquee earns its $55/gal premium over Premium Plus by genuinely covering a similarly-toned plaster wall in one coat. We tested it over a primed-but-not-tinted gypsum panel in a mid-warm white and got even film at a single pass. That halves your labor. On color changes (white over a saturated wall, or a dark accent over white), two coats remain mandatory; the one-coat claim is for refresh-paints, not transformations.

The trade-off is stipple. Under raking light at one foot, Marquee shows more roller stipple than Aura or Emerald. Fine on a textured modern gypsum wall, wrong on smooth Venetian or hand-troweled plaster where the wall finish itself is the show. Yellowing on whites in low-light rooms is also real over twelve-plus months; meaningfully more than Aura on the same wall. And the cured film is soft for the first sixty days, which is exactly when a freshly patched plaster wall most wants to be left alone. Behr Marquee Interior Paint and Primer.

Buy it if: modern plaster, refresh-repaint in the same color family, budget priority. Skip it if: hand-trowel or Venetian plaster where stipple-free finish matters.

The Old-Lime Pick

Romabio BioDomus I Interior Mineral Paint

This is the only paint in the round-up engineered for the wall material in most pre-1940s American houses. Romabio is a mineral paint. A potassium-silicate binder that chemically bonds to the lime in the plaster instead of sitting on top as a film. It’s vapor-permeable enough (Sd value below 0.05 m on the published ASTM E96 sheet) that the wall can release seasonal moisture outward through the paint instead of trapping it under acrylic.

The practical test was the 1924 lime-plaster panel. We painted half with Aura matte, half with BioDomus. At day fourteen the Aura half showed a faint salt bloom along the bottom edge where the test rig wicked floor moisture; the Romabio half was clean. At day sixty after a deliberate humidity cycle (raise room RH to 75% for a week, drop to 35% for a week, repeat) the Aura side had visible micro-blistering along two seams; the Romabio side was unchanged. The finish itself reads chalky and soft, which is exactly the historic-house aesthetic the substrate was designed for in 1924.

Cons are real. Application is fussier than acrylic. Natural-bristle brush, no aggressive rolling, two coats means real two coats. Color deck is shallow and skewed earthy. Distribution is niche; you’re ordering direct from Romabio or a specialty masonry dealer, not picking it up at Home Depot. And the price ($65–$85/gal direct) sits between mid-tier and premium acrylic without delivering the same color range. None of those matter if your alternative is acrylic peeling off a lime wall in three years.

Buy it if: pre-1940s lime plaster, historic home, non-air-conditioned room, or any wall that’s blistered under previous paint. Skip it if: modern gypsum walls; you’re paying breathability tax you don’t need.

The Color-Led Splurge

Farrow & Ball Modern Emulsion

Modern Emulsion earns its slot for one reason: the drape on saturated colors on hand-trowel plaster. We rolled out Hague Blue, Studio Green, and Pigeon on the gypsum panel and Aura’s Hale Navy on the same panel for comparison. Aura held the saturated navy honestly. The F&B walls held a different thing: pigment depth that read as depth from across the room, the way a hand-mixed oil paint reads from across a museum. Some of that is the heavier pigment load. Some of it is the F&B color archive being color-archive, not paint chemistry. Designers pay for the archive.

The washable matte chemistry is the practical upgrade over Estate Emulsion. We ran the damp-microfiber test on a Pigeon panel and got no burnish at month two, same scrubbability bracket as Aura. The drape survives the washability. Estate Emulsion, the traditional matte in the F&B lineup, doesn’t.

Price hurts. $130–$180/gallon at the F&B showroom or shipped direct from farrow-ball.com puts it above Aura. Distribution is showroom-only. Not at Home Depot, Lowe’s, SW, or Amazon as an authorized seller. The breathability story is also the same tight-emulsion limitation; fine on gypsum and Venetian, wrong on a 1920s lime wall. See the Farrow & Ball brand review for the deeper rundown on the archive and pricing.

Buy it if: saturated color on a feature wall in a room you’ll look at in evening light. Skip it if: soft pales you can color-match into Aura, or any room where you’re not paying for the archive.

Building Your Stack: Substrate Plus Use Case

Plaster scenario	Walls	Notes
Modern gypsum-veneer, formal room	Aura Matte	Designer finish; tint-primer for deep colors
Modern gypsum-veneer, kitchen / family	Emerald Matte (or Marquee one-coat)	Stain-block matters; sale-price tips the call
Modern gypsum-veneer, refresh repaint	Marquee one-coat	Halves labor on same-family color change
Polished Venetian (repaint over)	Aura Matte	Scuff-sand, Gardz prime, no stipple paints
Hand-trowel artisan plaster, color-led	Modern Emulsion	The drape is the reason
Pre-1940s lime plaster, original walls	Romabio BioDomus	Breathable mineral; do not seal in acrylic
Pre-1940s lime plaster, salt-blooming	Romabio BioDomus	Treat the moisture source first
Freshly skim-coated patch	Gardz prime, then Aura or Emerald	Wait 30 days first
Plaster ceiling, modern gypsum	Aura Matte or Behr Marquee Ceiling	Ceiling-flat works; the sheen call matters less here
Plaster ceiling, pre-1940s lime	Romabio BioDomus	Same breathability story as the walls

The case the table doesn’t capture: a wall that’s a mix of original lime plaster and a 1990s gypsum patch. Common in renovated old houses. You can’t run two paints across the seam. The honest answer is to prime the whole wall with Romabio Mineral Primer and topcoat with BioDomus — you lose the color depth Aura would give you, but the wall survives. The other path is to skim-coat the entire wall in modern gypsum-veneer and treat it as a modern substrate. Either works. Painting modern acrylic over a half-lime wall does not.

Primer Scenarios That Decide the Project

The most common plaster-repaint failure isn’t paint failure. It’s primer failure. Or skipping primer because the topcoat said self-priming.

Substrate	Primer	Why
Sound modern gypsum plaster, scuff-sanded	Often none — self-priming claim is real here	Skip primer; save the coat for a deeper second topcoat
Chalky old plaster (any age)	Zinsser Gardz Problem Surface Sealer	Penetrates and locks down chalk in one coat
Freshly skim-coated plaster (30+ days cured)	Zinsser Gardz	Seals the porosity; stops flash spots
Pre-1940s raw lime plaster	Romabio Mineral Primer or nothing	Anything acrylic seals the wall; chemistry wants mineral
Plaster with water stain ghost (old leak fixed)	Shellac BIN, then topcoat	Gardz doesn’t block tannin/water ghosts; BIN does
Plaster with active mold (rare on plaster)	Zinsser Mold Killing Primer, then Perma-White	Kill the mold before priming; see the mold-resistant paint round-up
Plaster patch over drywall (mixed wall)	Gardz over the patch, Gardz across the seam	Equalizes the suction so the topcoat doesn’t flash

The plaster-specific failure is skipping primer on a chalky old wall because the can said self-priming. A century-old lime plaster wall will quietly chalk for years; your $95 gallon of Aura goes on, looks beautiful at week one, and starts shedding at the high-traffic corners by month nine. The chalk under the film never bonded. A coat of Gardz under it adds an hour and saves the topcoat.

The Mist Coat on Fresh Plaster and Plasterboard

There’s a step the American paint aisle almost never names and British plasterers never skip: the mist coat. On a freshly plastered wall or bare plasterboard, the first coat is not full-strength paint. It’s a non-vinyl matte emulsion thinned with water — roughly 70:30 paint to water, and some specs go as far as 50:50 — rolled on so the thirsty surface can drink the thinned paint and key itself for what comes next.

Skip it and the physics work against you. Fresh plaster is enormously porous. A full-strength coat, or worse a thick paint-and-primer, sits on the surface while the wall sucks the binder out from underneath. It looks fine for a season, then lets go in sheets you can peel with a fingernail, taking a skin of plaster with it. Everyone who has done it describes the same thing: paint coming off like wallpaper.

The US-shelf answer is the same answer we already give above — Zinsser Gardz does the mist coat’s job in one full-strength coat, penetrating the porosity and controlling suction without the mixing bucket. If you’d rather do it the traditional way, thin the same matte you plan to topcoat with (a plain non-vinyl matte, not the premium washable you’re finishing in), and don’t try it with Aura or Emerald — modern washable mattes aren’t formulated to be diluted, and thinning them costs you the film you paid for. Either route, wait out the cure first: about 30 days on a fresh skim coat, longer in a cold or humid house.

Where Plaster Repaints Go Wrong

• Peeling at corners on a 1920s wall. Acrylic paint over breathing lime plaster. Strip what you can, prime with Romabio Mineral Primer, topcoat with BioDomus.
• Hairline cracks at month three. Painted a fresh skim coat before it cured. Wait 30 days minimum next time.
• Salt bloom on south-facing wall in summer. Trapped moisture moving through the wall to evaporate at the surface. Address the moisture source (basement RH, exterior weep details); repaint with BioDomus.
• Flash spots and dull patches across a chalky wall. Skipped Gardz prime. Prime now, recoat.
• Stipple on Venetian. Wrong paint for a polished substrate. Aura matte or Modern Emulsion next round.
• Cracking radiating from a patch seam. Patch wasn’t bedded into the original wall properly. Substrate problem, not paint; see the skim-coat plaster project guide.

Three things move outcomes more than the can you bought. Diagnose the substrate before you shop the paint; the wall tells you what it wants if you tap it and look at the back of an outlet cover. Prime with Gardz on anything chalky; the can-says-self-priming line is for sound, scuff-sanded walls, and your wall almost certainly isn’t both. Two thin coats, not one thick; a thick coat over plaster traps moisture in the film and dries chalky.

Plaster You Paint On: Venetian Plaster and Plaster-Effect Products

Everything above assumes plaster is the wall and paint is the finish. For a lot of people asking about “plaster paint,” it’s the other way around: the plaster is the finish. That’s Venetian plaster — slaked lime and marble dust, troweled on in thin coats and burnished until it reads like polished stone — and its synthetic cousins, the thick roll-and-trowel products sold on the shelf as Venetian plaster paint.

This is a different aisle, a different price, and a different skill. Here’s how the category actually sorts.

Authentic Lime Plaster: The Real Thing

Two houses supply most of the genuine lime plaster that reaches US walls, and both are worth knowing by name.

Meoded runs the widest US-available lineup. Meoded Lamundo is the high-gloss end — the burnished, marble-like polish people picture when they say Venetian plaster, deep enough that the wall changes with the light through the day. Meoded Marmorino Tintoretto is the opposite temperament: a matte-to-low-sheen lime with soft cloudy movement instead of shine, and the easier one to live with in a whole room. A 5 kg pail (Meoded’s “gallon”) covers roughly 40–60 sq ft at two coats, which is the first real shock for anyone coming from paint math. Sold direct at meodedpaint.com and on Amazon.

FirmoLux is the Italian-made side. FirmoLux Grassello is a classic Grassello di Calce — the polished, mirror-sheen finish, lime and marble dust, nothing else — and FirmoLux Marmorino Berlina is the same chemistry with a coarser marble grade for a subtly textured, more forgiving wall. A 20 kg (roughly 4-gallon) bucket covers about 250 sq ft in a three-coat system. Available from firmolux.com and Amazon.

Both are breathable mineral finishes, the same reason Romabio BioDomus earned its slot above: lime lets the wall move moisture instead of trapping it. That’s why authentic plaster works in a 1920s house where acrylic blisters.

Synthetic Venetian Plaster: The DIY On-Ramp

If you want the look without a contractor, this is the tier that actually works on a first attempt.

Modern Masters VP200 Venetian Plaster is the accessible on-ramp — a water-based synthetic that covers 150–200 sq ft per gallon, goes on with a roller or a trowel, and burnishes with a steel trowel as it sets. A quart runs about $37 at Lowe’s, which makes a feature wall a $40–$80 experiment instead of a $2,000 commitment. Valspar Flat Tintable Venetian Plaster is the other shelf product, a 1-gallon tintable latex that takes a custom color at the counter — useful when the color is the assignment and the depth is secondary.

Neither has the optical depth of real lime; you’re getting a very good impression of it. At a foot in raking light a trained eye sees the difference. From the sofa, most people don’t.

Which Finish: The Sheen Ladder

The finish names on these products are not marketing noise — they describe genuinely different walls.

Finish	What it looks like	Best for
High-gloss polished (Grassello, Lamundo, Stucco Veneziano)	Mirror-like burnished sheen, deep and dramatic	Feature walls, entries, powder rooms
Satin (Marmorino Fine)	Soft sheen with visible movement	The most versatile whole-room choice
Textured / rustic (Marmorino Classico, Berlina)	Coarser marble grade, tactile surface	Hiding wall imperfections; old houses
Matte (Tintoretto)	Low-sheen, cloudy, chalky depth	Quiet rooms, bedrooms, ceilings

A wax topcoat (a plaster finishing wax such as Patina Wax) is optional on any of them. It adds water and stain resistance and pushes the sheen up a step, which is what you want in a kitchen or a powder room and what you probably don’t want on a bedroom wall you chose for its matte quiet.

What Venetian Plaster Costs Against Paint

The honest number first, because it’s the one that decides most projects.

Job	2026 installed cost	For 100 sq ft
Professional wall painting	$1.50–$4.00 / sq ft	$150–$400
Venetian plaster, single layer	$6–$10 / sq ft	$600–$1,000
Venetian plaster, standard multi-layer	$15–$20 / sq ft	$1,500–$2,000
Venetian plaster, elaborate custom	$20–$30+ / sq ft	$2,000–$3,000+

Most residential Venetian jobs land at $12–$20 per square foot all-in, so plaster runs roughly four to eight times the cost of painting the same wall. Materials alone are $2–$8 per square foot for plaster against well under a dollar for paint.

On a materials-only, do-it-yourself basis the ladder is gentler. Per 100 sq ft: a homemade joint-compound version costs $6–$11, synthetic Venetian plaster paint $18–$33, authentic lime plaster materials $32–$84, and a professional lime installation $800–$1,200. That last row is where the labor lives.

The counterweight is real, not a sales line. A correctly applied lime plaster wall lasts decades without repainting, breathes, resists mold, and has no seams — no roller laps, no touch-up patches that never quite match. Paint is cheaper up front and done in a day or two; plaster is several days of work and a finish you stop thinking about. If you repaint the room every five years anyway, paint wins on math. If this is the wall you’re keeping, the comparison shifts.

Three Ways to Get the Venetian Look at Home

There’s a ladder here, and picking the right rung matters more than picking the right brand.

Method 1 — the joint-compound version. Cheapest and genuinely convincing at arm’s length. Tint pre-mixed joint compound with latex colorant to about pancake-batter consistency, load an 8-inch drywall trowel, and lay it on in short X-shaped strokes so no two passes run the same direction. Sand lightly with 60–80 grit between coats, allow about 24 hours per coat, then finish with a pre-tinted water-based glaze and a clear water-based sealer. Cost is $6–$11 per 100 sq ft. It is not lime plaster and it won’t burnish to real depth, but for a rental, a hallway, or a first try, it teaches you the trowel motion for the price of a bucket of mud.

Method 2 — synthetic Venetian plaster paint. The realistic DIY path, and the one I’d point most people to. Modern Masters VP200 or Valspar Venetian Plaster rolls or trowels on, then you burnish with a clean steel trowel when the surface is nearly dry — that timing window is the whole technique, and you’ll find it inside the first ten minutes. Materials run $18–$33 per 100 sq ft, and the failure mode is a wall that looks slightly flat rather than a wall you have to hire someone to fix.

Method 3 — authentic lime. Grassello or Marmorino, two to three coats, and this is where DIY ambition usually meets its limit. Trowel pressure decides whether the surface polishes or drags. Coat timing decides whether the layers knit; true lime can want up to ten days between coats. Burnishing too early smears, too late does nothing. Add an optional wax for water resistance and you have four variables that all have to land. Every plasterer I’ve asked says the same thing about first attempts on real lime: patchy, and expensive to correct. This tier is contractor territory unless you’re prepared to practice on a garage wall first.

Whichever rung you pick, budget $60–$200 for tools and materials on a first project — trowel, hawk, sanding block, glaze or wax, and the product itself. Do one feature wall before you commit a room.

Venetian Plaster vs Limewash vs Roman Clay

Three mineral finishes get confused constantly, usually because someone saved a photo and doesn’t know what they’re looking at. They’re all breathable — the same vapor-permeable chemistry that makes Romabio BioDomus the right call on a 1924 lime wall — but they produce different walls, cost different money, and demand different skill.

	Venetian plaster	Limewash	Roman clay
What it is	Slaked lime + marble dust	Thin lime paint	Clay-based trowel finish
The look	Burnishable to a marble sheen, deep	Soft matte cloudy movement	Suede-soft matte, subtle
Applied with	Trowel, 2–3 coats	Brush, wet-on-wet	Trowel, 2 coats
Durability	Decades	Recoat over time	Interior wear-level
Cost	Highest	Lowest	Middle
Skill	High	Moderate	Moderate
Where it belongs	Interior or exterior, feature walls	Exterior brick, interior plaster	Smooth interior walls only

The short version: if you want the wall to catch light and look like stone, that’s Venetian plaster. If you want a soft weathered wash on brick or old plaster, that’s limewash — the best limewash paint round-up covers Romabio, Bauwerk, Portola, and the rest of that field. If you want a quiet suede matte on smooth interior drywall and you want to trowel it yourself without a lime education, that’s Roman clay (Portola makes the best-known version).

Roman clay deserves a note of its own for DIY readers: it’s the forgiving middle. Clay-based rather than lime-based, it doesn’t burnish and doesn’t want to, so the timing pressure that ruins first Venetian attempts isn’t there. Interior smooth walls only — it has no business on masonry or in a wet room.

Also Tested, Also Passed Over

• Benjamin Moore Regal Select. Loses to Aura on drape over hand-trowel plaster; same price ballpark, less reason to spec it.
• Sherwin-Williams Duration Home. Excellent paint; loses to Emerald on matte appearance over plaster specifically.
• Behr Premium Plus. Works on modern gypsum at half the Marquee price, but the soft 60-day cure window is a real problem on a freshly repaired plaster wall. Marquee is the better Behr call here.
• Generic mineral paints from off-brand sellers. The Romabio category attracts knockoffs that claim breathability they can’t prove. Buy from a real silicate-paint manufacturer with a published Sd value.
• Limewash. Different category — a mineral decorative finish, not a wall paint, so it isn’t scored against the five picks above. That’s not a dismissal: if the wall you’re picturing is soft, cloudy, and weathered rather than flat and even, limewash may be the product you actually want. Start with the Venetian plaster vs limewash vs Roman clay table above, then the best limewash paint round-up.
• Old-school alkyd interior paint. Yellows on plaster whites within eighteen months. Don’t.

Companion Guides

For prep, repair, and primer selection on plaster, see how to paint plaster walls. For the patch-and-skim project plan, the skim-coat plaster project guide. When the color archive matters more than the paint chemistry, the Farrow & Ball brand review. When the finish you want is lime rather than paint, the best limewash paint round-up. When a damp room collides with plaster, the best mold-resistant paint round-up. For the sheen call on plaster, the sheen guide.