There is a moment in the late afternoon when the beauty of surfaces painted with limewash or distemper is revealed. When the sun is low in the sky and the light gently glides across the walls, a sense of movement emerges – a lightening and darkening that shifts with the sun’s position.

Limewash and distemper, a casein-based paint, are similar in their chemical composition, but differ in character and the visual effect they produce on the wall. However – and this is the really interesting part – they can be perfectly combined.

Limewash: When fine crystals refract the light

Lime paints are among the oldest types of paint in the history of building. In the limewash products from English manufacturers such as Farrow & Ball and Little Greene, the traditional ingredients – such as slaked lime, water and binders – are combined with a very high pigment density, which lends dark walls in particular enormous depth and that famous British look.

The calcite crystals that form as the paint dries create a subtle refraction of light. The paint does not form a film; it cannot therefore flake off and allows moisture to pass through. The high pH value makes the surface naturally alkaline and thus unattractive to mould.

Limewash has a deep matt finish, without the slightest hint of sheen. When wet, the wall appears significantly darker and more translucent. As it cures, the surface lightens whilst simultaneously becoming more opaque.

The visible texture of a wall painted with limewash depends on the shade chosen. If you want a dramatic, cloudy effect, you’ll need medium to dark shades. If you choose lighter shades, you’ll get a more subtly nuanced wall that only reveals its full effect in oblique light

 Limewash is applied with a natural-bristle brush or a paintbrush, as the paint has a thin consistency. A roller is unsuitable for this: it would result in streaks and uneven coverage.

For the first coat, dip the brush just two to three centimetres into the limewash, wipe off the excess with a flick of the wrist and hold the handle close to the brush head. Move the brush at a right angle to the wall so that all the bristle tips are in contact with the surface. The paint should be spread out as far as possible, and the direction of the strokes should be varied constantly. By repeating certain movements, you can create a repeating pattern if desired.

A wall is worked on from corner to corner in a single pass. The only exception: with white shades and very light colours, you can pause and go back over the area without leaving a visible join. The second coat is applied more quickly, wetter and much more loosely than the first. Uncovered areas are expressly permitted in the second coat, as the first coat has already provided sufficient coverage.

If desired, more texture can be achieved by using a smaller brush for the final coat. This is because more brushstrokes create more angles in the arrangement of the calcite crystals, at which the light can refract.

Distemper: A historical paint formula

Distemper products are characterised by the use of casein as a binder. As this is a common milk protein, casein paints were used very early on in painting and interior design.

Whilst limewash creates more pronounced textures, distemper produces surfaces with an almost textile-like appearance. The very low gloss level of distemper means: no reflections, no glare, no harsh edges in oblique light. Deep shades thus appear velvety and rich, whilst light shades appear soft. Brush marks and brush textures may remain subtly visible under certain lighting conditions.

Apply using a fine synthetic brush. The paint is first applied vertically and then spread evenly horizontally. It must be applied wet-on-wet, meaning the wall must be painted in a single stroke, otherwise visible brush marks will appear.

Distemper is not wipe-resistant. Kitchens, bathrooms and high-traffic areas are therefore not suitable.

The perfect combination: Limewash & Distemper

This leaves us with the question most frequently asked in practice: what should you do if you want the mineral character of limewash but not the full dramatic effect of the cloud-like texture of a lime paint? On a large, well-lit living room wall, a surface treated with limewash can quickly appear too busy. The solution lies in a layered application: first Limewash, then distemper.

The logic behind this makes sense both visually and in terms of building physics. The lime layer provides what no other paint product can: the mineral substrate, the light refraction of the calcite crystals and the movement. The subsequent application of distemper lies over the top and evens out the contrasts. The characteristic cloudiness does not disappear, but it is significantly reduced.

And because casein is vapour-permeable, the key advantage of lime paint – a wall that breathes and regulates humidity – is not lost. The extent to which the cloudiness is reduced can be controlled by the number of coats of distemper applied: one thin coat softens the effect, whilst two coats level it out much more effectively. An important point to note when combining the two: the base coat of limewash must be allowed sufficient drying time, and thus time for what is known as carbonation – that is, the formation of calcite crystals. Only then can work continue with distemper.